Il Maestro
At the age of 15, Domenico began his early explorations in classical painting, drawing inspiration from artists like Claude Lorrain and the 18th-century Italian ‘Vedutisti.’ Art was part of the air he breathed in his family—his grandfather was a painter of the Neapolitan school, while his father, also a painter, worked as a church decorator and restorer, with whom Domenico collaborated.
He continued his artistic journey in Milan, where he developed a new perspective, becoming increasingly interested in social issues through his study of Mexican muralists (Orozco, Rivera, Siqueiros) and expressionist painting. Eventually, he decided to return to his homeland of Molise to reconnect with the land and its people. Together with a group of artist friends, he founded the “Gruppo Solare” (Sunny Group), a collective inspired by both local traditions and new visions of social emancipation. His love for Molise motivated him to delve into its secular history, painting among the people to bring them closer to this form of artistic expression.
In the 1970s, Domenico decided to explore new artistic skills and spiritual dimensions. He moved to Australia, where he was captivated by the country’s distinctive light and the work of Australian Impressionists—artists whose approach was more untouched by classical European patterns and deeply connected to nature. During this period, he began to sense the spirituality of the Aboriginal people, which inspired new artistic experiments alongside his work as a restorer of canvases, frames, and sacred objects.
After several years, he returned to Italy, working between Milan and Rome, continuing to paint, participate in exhibitions, and showcase his work in various galleries. In Milan, he met Rosanna, a fellow southerner, and the two eventually relocated to Cilento. There, Domenico was enchanted by the region’s rich history and artistic heritage, which led him to embark on a new phase of his life with the “Blu di Prussia“—a literary café, restaurant, studio, and school of art and restoration. This venture was highly successful, but it was tragically cut short by Rosanna’s untimely death, marking the end of this chapter in his life and art.
Domenico Paolombo continued to follow artistic paths that had helped him through this difficult time, and after a few years, he decided to return to Australia, where he began a new phase of his artistic and personal life with Teresa. He fully discovered the spirituality of the world’s oldest civilization, the Australian Aborigines, while maintaining his connection to Cilento, where he spent much of the year restoring the artistic heritage of local churches and continued his artistic journey focused on spirituality.