Bruno Capolongo is an established Canadian artist of Neapolitan descent. His work is collected by private and corporate collectors alike, and has been in well over 120 exhibitions, including over 20 solo shows. Exhibiting primarily in Canada and the United States, he has also shown in Japan, and has been represented by a number of fine art establishments, including galleries in Toronto, New York City, Montreal, and Washington DC.
Capolongo is the recipient of numerous awards and honours, including the internationally coveted Elizabeth Greenshields grant – three times (one of only three dozen triple recipients since 1955), and consecutive first place awards for the national Canadian exhibition and competition “Evidence of Things Unseen”. Due to his diverse interests and constant need for a challenge the artist’s work is constantly evolving.
Artist’s Statement:
“There are a number of principles by which I live and work as an artist with conviction. I believe in the supremacy of beauty, for me the aesthetic power of an artwork is more important than any underlying conceptual or theoretical component. This is because beauty is not merely a vehicle for meaning, but is itself meaningful, good and just. While conceptual underpinnings may abound in some of my work I maintain that the integrity or strength of the image itself is of greater importance.
In my own work I believe that all subjects-whether landscape, still-life, figurative or architectural-must be treated equally. A truly great landscape painting, then, is no less important than a Royal portrait-because of how it is made. There is really no hierarchy of subject-matter. This is why I say it is not what you paint, it is how you paint it. Finally, it has long been my belief that the most intelligent and successful artists draw from two sources of influence, the well of history, and the fountain of modernity. The artist who ignores either may languish or stumble. This is why I study the Old Masters carefully and respectfully, while ever aware of the dangers of merely imitating the artistic ideals of a bygone era.”
