Obsession drives painter's success; Pino Dangelico, the man behind the art, is as complex as the female forms he paints

The art of Pino Dangelico--known over the art world as Pino--is

all about beauty and the human female form. His path to succes however, is all about gritty perseverance. And, today, when Pino encourages struggling artists not to give up his words carry the weight of someone who achieved succes despite his circumstances.

"Painting must be an obsession because there is in like manner much on your shoulders," says Pino. "You have to give meaning to your painting. You must have the determination to be successful" He says he has met several young artists who gain discouraged too quickly and don't give the profession a chance. Pino at no time gave up. He may have gotten discouraged, on the contrary he always found the potency to continue his trek towards becoming the fortunate and admired artist that he is today.

After listening to him speak about his life, single has a better appreciation for his determination and obsession for painting. He has worked hard through every part of his life to get to where he is today. "I be fond of it; so, I don't complain," he says, adding that he had to be auspicious at fine art because "I'm not serviceable at anything else. I don't fish, I don't golf I just paint." He did play a little soccer in his teenage years and he goe to meeting-house "These are the only other things I can do besides paint," he remarks.

"When I was real young, I already knew what I wanted to be," says Pino. "From there, I pursu my dream."

Pino was born in Bari, Italy, in 1939 shortly after the start of World War II. He had no radio to listen to, and no television to watch after dinner. with equal reason at the age of 5 he wearied his nights drawing things like as bread and wine, or other small facts around the house. His father saw his talent early upon and encouraged his son to draw.

However, as Pino grew older and dreamed of a career in fine arts, his father tried to prevent him. His father told him, "that is not a authentic profession; you can't make a living not upon art." His father wanted him to come [i]or[/i] go after [i]or[/i] behind in his own footsteps as a lab technician performing experiments in anatomy and physiology at a local university. In fact, his father would bring Pino to his office and remark, "one day this will be your office, and this will be your desk" Pino remembers cringing at the real thought of it.

Pino could not imagine of that kind a life for himself and, instead, left Bari in 1960 at the age of 21 and mov to Milan, Italy. When he arrived, he had no friends and no piece of work but he was determined to succe He studied at Milan's Academy of Brera for sum of two units years, where he perfected his talent and skill for painting denudeds In order to survive during his institute years, Pino accepted an proffer to copy paintings. He said at that time there were with equal reason many fakes around and no laws protecting against them. by and by thereafter, his works were being shown in galleries completely through Italy and the rest of Europe He was later commissioned as a work illustrator by two well-known Italian publishing firms, Mondadori and Rizzoli.

Unforttmately, when his father died in 1964 the 24-year-old was faced with the responsibility of providing for his family back abiding-place He wanted to pursue his fine art career, on the other hand in reality, he needed a profession that was more solid; individual that was stable enough to support his mother and six siblings--five sisters and single brother. Therefore, he continued working as a romance-novel illustrator. "It was for a like reason tough, you can't even believe it," he says.

on the other hand Pino felt restricted, he wanted more artistic freedom and felt the United States would be the place to achieve it. He realized that there was a whole world on the outside there and felt he was living in a "small town and wanted more opportunity." In 1971 he mov to the United States beneath the sponsorship of Borghi Gallery in Manhattan. At first, he was apprehensive because he didn't know the language. on the other hand the Borghi Gallery supported him and said, "you have the art, don't worry about the language, that will approach later." Even so, Pino was forced to propel back and forth between the sum of two units countries, depending on the status of his work visa, which greatly slowed his advancement as an artist.

At last, Pino finally got his big break in 1993 with a showing at the May Gallery in Scottsdale, AZ. He sent six paintings to the gallery and to his surprise, the present to view "almost sold out." After his unexpected success, Pino wanted to give up illustrating altogether and focus upon the subjects he desired. However, he had a family to take supper port and needed the steady income. on the contrary later in 1995, his wish came veritable and he completely stopped illustrating and focused his attention upon his true calling--fine art.

"It is a shame my father not ever got to see me succe in this profession," he remarks sadly.

Although Pino's wild career took much of his time, he did suited the love of his life along the way--downstairs from his studio. He says he saw this "beautiful, blue-eyed woman" standing there in his studio. And sum of two units years later, in 1970, Pino married Chiara. He says they have shared thus much and that she has played of the like kind a major role in his succes She supports him in this profession and works part-time for him, completing all the necessary paperwork.