Since she was a child she loves to draw, paying particular attention to free creatures. After completing her academic studies of art and restoration in Florence, in her early twenties she returns to Spello where she opens her first studio.

She thus approaches saints and blessed people by discovering them in the old frescoes to be restored in small churches, bringing them back to their former splendour. She thoroughly studies their life and soon they will have no more secrets for her. And the Madonnas, her splendid Madonnas − both with Child or depicted in a solitary way − reach a particular beauty so as to attract the interest of art critics.

She painted a scene of Franciscan taste in the heart of the historic Basilica of Assisi (a young girl to whom the Franciscan friars allowed to execute a mural fresco of such importance). Since then she has made countless frescoes on wall and even on table, the fame that this young artist deserves has grown a hundredfold, her reputation is decreed by critics.

However, Capitini does not lose that spontaneity which has always distinguished her personality. Over the years she devotes herself to the painting of the saints and the blessed, without however abounding that part of profane art made of splendid female and male nudes. Her frescoes are however based on the search for maximum spirituality.


There is in the frescoes of the woman from Assisi the desire to express a feeling that urges her from within, in a constant introspection to try to discover herself. It is starting from her daily life that we can understand her genuineness, her conceiving and discovering art as communication, the coherence of remaining indifferent to the call of the sirens of the historical artistic trends of certain periods.

Capitini has always been on her way convinced of what she was doing, certain that her serious and committed work would have given positive results. The painter was born in Assisi, in that land blessed by God that gave birth to St. Francis and St. Clare, of whom she began to follow the traces in her work.

The spirituality that pervades the environment in which she grows cannot but make her a sensitive person, attentive to the most important works, which are then found in most of her great artistic production. Francesca Capitini’s project is the natural awareness of her life, her personality, her relationship with painting, her her way of making art and communicating.

The atmosphere of each painting has a slow breathing composed of coloured textures. The subjects appear to be inserted in an environment in which the polychrome lights perfectly harmonise and seem emanations of the protagonist images. Drawing is often essential, it is limited to the main motifs and yet it says everything.

Certain pictorial works bear fragments of writing and figures with faces, which emerge with almost ashen light on a breath of green or a veil of orange. These paintings, made in fresco or on plaster, have ancient lights, but also new ones, those of truth and emotions.











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