During his career Antonio Guccione has worked with the most prestigious fashion magazines, creating the most important advertising campaigns for Gucci, Prada, Versace, Officine Panerai and many others. In recent years there have also been many book publications dedicated to his works; among the most important are 'ABSOLUTE STATEHOOD', 'FACES OF NEW YORK', 'FASHION AND FACES'. He is the performer of portraits of the most influential celebrities and figures in the last century of fashion, entertainment, politics, cinema etc. such as Richard Gere, Dustin Hoffman, Kate Moss, Tyra Banks, Giorgio Armani, Federico Fellini, Michelangelo Antonioni, Roberto Bolle, and many others. His latest effort is SKULLS, a journey and a profound reflection on the transience of life through vanitas; puts on the stage skulls inspired by the greats of the past (recent and not) and personalized with what made them famous and immortal through the years or centuries.
ANTONIO GUCCIONE “THE BONFIRE OF VANITATES” PROJECT BETWEEN PHOTOGRAPHY AND ART.
Antonio Guccione has photographed the most beautiful women in the world, from Carla Bruni to Elle McPherson, the protagonists of his portraits are the icons of culture and entertainment from Alberto Moravia to Giorgio Armani to Richard Gere. But in his photographs the subject becomes an instrument with which the artist reflects his emotions, his mood and his aesthetics.
In 2008 he began the project that is still in continuous evolution and innovation entitled “The Bonfire of Vanitas”, exhibited from 16 January to 16 March at the Salotto of Milan at number 2 of via della Spiga. It is not just photographs but true works of art, intensely pictorial portraits, in which the artist experiments with the application of mixed materials to the subjects represented, in order to create a poetic fairy tale that tells a dream that has been reality. These photographs also have a strong psychological character, their nature and personality, with great attention to detail, and lead the observer to perceive aspects of subjective work, subtended in these “metaphysical scenographies”.