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Laura Aprile is a painter who chooses to portray the intimate facets of femininity with an indiscrete eye to responding with sensuality. In her painting, she often employs fragments to portray herself, using a nudity that is far from the quiet truth, with a precise and technically rigorous style code.
Her women rarely show their faces and yet they stare, demure, at a space intended only for those who observe them.
Known for her portrait work in Italy and abroad, she has a reputation for the similarity to the photo image that she often uses as a model for her works.
Laura Aprile is of Sicilian origin, and graduated from the Accademy of Fine Arts in Florence, where she has lived and worked since 1990. Throughout her painting career, she has been the focus of panels and educational relationships with those involved in culture and entertainment, and leverage in the artistic world.


He wanted to become a violinist, but as the son of an artist father, already at age five Marco Klee Fallani began painting and learning the technique of etching.

This was the beginning of a passion, a creative journey that still continues today. His artist parents were his first teachers, but he later learned the art of sculpture, first at the Art Institute of Porta Romana and later at the Academy of Fine Arts in Florence. He then finished his art studies in San Francisco, where Marco studied while working to support himself.
The American experience proved to be very enriching, stimulating and satisfying, and his work was appreciated and recognized.
He has been called upon to give lectures, classes, courses, and workshops. An article about him was written and issued in the prestigious Artweek (May 6, 1993, vol. 24, No. 9).
From 1987, he has been a professor of painting, drawing and sculpture in various schools in Florence and in the United States: Syracuse University, Saci, Polimoda, Lorenzo De Medici, FUA, and the California College of Arts.
He simultaneously gave private lessons to Arabian princes, the Hollywood actor Peter Weller and other prominent figures.
He exhibits frequently abroad, both in Europe (England, Holland, Italy) and Canada and the United States.
He has participated in various exhibitions with both sculpture and painting, and won the painting prize of the town of Lucca. Fallani also worked as a set designer for the Luca Ronconi’s production of Lo Specchio and collaborated in creating the monument to Joe Louis for the city of Detroit. He also prepared molds and plaster casts of the Gugliemo pulpit for the Museo dell'Opera del Duomo in Pisa.

    Lucia Bertini, Toscana On Line, 2014


Piero Mazzoni was born in Florence. He graduated in Stage Design from the Academy of Fine Arts in Florence.
From 1972, he taught Painting Disciplines at the “L.Battista Alberti” State Secondary School of Art.
He began his professional career in 1977 when he became part of a group of young Florentine artists, Lo Studio Limite, which, until the mid-1990s, worked in the fields of illustration and cinema animation.
In the past 20 years, his research has been in the field of figurative art, from painting to set design, and always accompanied by solo and group exhibitions both in Italy and abroad.
"Piero Mazzoni’s works speak the language of contemporary art and tell stories of nearby places that seem far away, with strident sensations of poetry that clashes with the everyday, with our indifferent times."

    Paolo Lucas, Flash Art, 2009

"Piero Mazzoni never goes beyond known territory, since his expressive power lies in his geographical and cultural roots, meaning Tuscany (the portion of land where he now lives, which is located halfway between Florence, where he was born, and Prato, near Poggio a Caiano): Soffici and Spadini; but also Pontormo di Poggio and Carmignano. Roots that however are nourished by the farther reaches of contemporary culture, from Hopper to Bacon, or Freud; from Tex Avery to Topor, Dino Battaglia and Hugo Pratt, then Sughi, Pop Art and, why not, the American cinema of the 1940s, Humphrey Bogart, Orson Welles; and Italian neo-realism. These are the painter’s ‘ties’ to his world.”

    Giuseppe Tondo, Il Corriere della Sera, 2014


Fulvio Leoncini was born in Empoli (FI) in 1960, but lives and works in Santa Croce sull'Arno (Pisa).
He graduated from the State Institute of Art in Cascina (Pisa), and began to exhibit in 1978.
In 1998, he resumed studying engraving techniques and participated in the Engraving Workshop at Villa Pacchiani.
In 2000, he was one of the founders of the Compagnia dei Liberi Incisori e Varia Umanità (Society of Free Engravers and Various Humanity) in Santa Croce sull'Arno.
In 2003, his work was included in the multimedia project Terre del Rinascimento, curated by Silvia Bottinelli for the Leonardo Museum in Vinci.


1984 - Palazzo Ghibellino, Empoli – Solo exhibition
1989 - Stage designs for the play Bedrooms by A. Ayckbourn, The Penguin Theatre - Regione Toscana Diritto allo Studio Universitario (Region of Tuscany Right to Education)

1995 - Ken's Art Gallery, Florence, I nuovi eroi – Solo exhibition
1998 - Former Frantoio di San Domenico, San Miniato, Pulsionale – Solo exhibition

2001 - Acqui Terme, Ovada, 5th European Biennial for etching,
2003 - Society of Free Engravers , Santa Croce, RegressivaMente – Solo exhibition
2003 - Chamalieres, Auvergne - France
Sixième Triennale Mondiale d´Estampes, Petit Format

2003 – Valli Cultural Center, Ponsacco, Pisa, La Bestia dentro – Solo exhibition
2004 - Odradek La Libreria, Rome, Codice a Sbarre – Solo exhibition
2005 - Lucca, Palazzo Ducale, Diritti negati, 25 artisti per Amnesty International - Exhibition (Rights denied, 25 artists for Amnesty International)
2006 - Lucca, Palazzo Ducale, Diritti negati, artisti per Amnesty International - Exhibition

2010 - San Casciano v. di Pesa (FI), Museo d´arte sacra, In Nomine Domini – Solo exhibition
2011 - Invited by Sandro Parmiggiani to the 44th edition of the Premio Vasto Arte Contemporanea, Vitalità dell´arte, Vasto, Chieti.
2011 - San Gimignano, Galleria d´arte Moderna e contemporanea “Raffaele De Grada” Ricognizione Toscana, New Acquisitions, curated by Nicola Micieli.
2011 – Rome, La Camera Verde - A Cèzanne – curated by G. A. Semerano - Exhibition
2012 Rome, La Camera Verde - In Nomine Domini – Solo exhibition.
2013 – Florence, Palazzo Bastogi – Region of Tuscany - Elettroshock – Solo exhibition
2014 - Sator magiaquadra with Rejin Halimi, Camelia Mirescu – Palazzo Gentili - Viterbo
2015 – Verso sera. Le spose violate – Sala Bramante - Fermignano (PU)

The following authors have written about his work: Piero Gambassi, Nicola Nuti, Valerio Vallini, Nicola Micieli, Romano Masoni, Luciano Della Mea, Silvia Bottinelli, Marco Giovenale, Gustave Leduc, Antonella Serafini, Antonio Bobò, Sandro Parmiggiani, Fabrizio Mugnaini e Claudio Crescentini, Anthony Floris.

“Disturbing and poetic, Fulvio Leoncini’s pictorial world involves the viewer, brings out deep emotions. Few other artists of our time are capable of bringing out the ambiguous fascination of our ancestral fears, our hidden desires.”
Gustave Leduc, Paris, 2014

"Fulvio Leoncini is a surgeon of the material: the body of his paintings has been battered make the soul emerge from it, screaming. His art is profoundly significant. The materials he uses, burnings, wood, wax and colour, and the skillful composition of strokes, shapes, place the paintings in the highest region of the visual art of today. Every scratch, every figure is necessary, as were the gold and lapislazuli in Renaissance frescoes.”

    Antonio Bobò, In nomine Domini, Pisa 2009


Mario Nuti was born in Florence in1923.
Even as an adolescent, he cultivated his artistic leanings independently, exploring mediaveal and Renaissance art but also following his interest in 20th-century art and in literature.

Nuti frequented many of the artist and intellectuals of the time;Rosai, Soffici, Giovanni Spadolini, Romano Bilenchi. His first one- man show, at the Florence headquarters of the partito liberale, won pointed commentary from Spadolini; the paintings he exhibited on this occasion still spoke in the figurative language in which his paintings is deeply rooted.

In 1948 he took part of the most important of the ‘Arte d’Oggi’ exhibitions. He met Corrado Cagli and participated in the premio Forte dei Marmi contest/exhibition, organized by Cagli.
He joined the smaller circle of painters who founded Classical Abstractionism: Berti, Brunetti, Monnini, and Nativi and, with them, signed the Manifesto drafted bt Ermanno Migliorini and partecipated in many of the grouop’s initatives.

In 1952 Nuti stayed briefly in Paris, where he encounterd many expatriate friends, including Berto Lardera, Gianni Bertini and Gino Severini, and met Iliazd.
He continued his abstract work and showed at selected exhibitions of nonobjective art.
He produced decorations for shop and office interiors.

In 1959 Nuti Exhibited at shows of Florence painting held in Detroit and Buenos Aires.
Meanwhile, his paintings began to incorporate more ‘relief’, a path which drew on and found confirmation in his parallel activity as a ceramist, undertaken together with Brunetti. Early on, they managed thier own workshop (Maf) and later on, collaborated for some years on the top-line production of La Cava factory in Lastra a Signa. This activity represented another stage in the recovery of the ‘real’ in Nuti’s descriptive signs. The city walls of Florence became his primary references for that adhesion to that ‘Informal’ represented by some of his most intense work. In this territory of solid painting, for which Nuti won critical acclaim, he set down his visions of the masse sas symbol of a breathless unease that will never be calmed.

The disastrous 1966 Florence flood was, for Nuti, an almost cathartic moment: many of his paintings were damaged at the Galleria Michaud (then in Via del Pesce near Ponte Vecchio), with which he collaborated. The artist succeded in saving money of his own works and works by other painters, including Soffici, Rosai and Morandi, from the mud. As he watched the figures reappear from the clayey slime and veils of diesel fuel, Nuti recognized the path his painting was taking. From the moment on, the narrative-figurative elements of his work took form more and more clearly, although the rhyths and tempos of abstract composition remained.

For Nuti, the 1970s were a period of feverish activity, combining exhibition and research. By this time defenitively separated from his companions in Abstractionism, the artist partecipated in many national-level contest in various parts of Italy and exhibited, beside Florence, in Verona, Mantua, Milan, Biella, Brindisi, and Palermo.

In October of 1996 Mario Nuti died in Florence, After a summer spent planning a series of ‘double’ self-portraits in which the self became self-reference, an interior echo, as though in mirrors that reflected the imge back and back, into infinity.

Mario Nuti’s art works are found in public collections ( Galleria D’Arte Moderna di Palazzo Pitti; MART Museum of Trento; VAT Foundation Frankfurt) and private collections in Italy, Norway, USA, Buenos Aires, Baja California.


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