In the visual arts, the observation of landscape is generally a lingering over a feeling, the contemplation of a truth, the simplest, the most exemplary, even the most obvious of truths, that of spaces, territory, settings; the colours become the testimony of an affection and the representation of a certainty.
For this reason landscape painting is one of the most difficult of expressive undertakings, not least because there is always the plain risk of mere calligraphy and the lure of easy suggestion in a practice that, for the artist, is at bottom a reproducing through interpreting.
Federico Felicioni works predominantly in landscape, yet without being seduced by it, and with a personality that yields not so much the facile effect, nor a sequence of impressions, but rather, in the physicality of the forms, a direct, convinced participation in the things heard in their harmony and in their natural solace.
The landscape of Federico Felicioni, a Perugian painter but also an esteemed gallerist, is therefore set out in its components, of course, but displayed with an almost pagan delight, with intense colours, with full forms, with distant horizons, where scents and warmth lead us into a living, summery world, one that means to be not the evocation of some original purity but only the illumination of echoes, the expression of spaces, precisely, grasped with sensibility and poetry in an astonished eternalising of the objects of life.
Rows of trees, flower-laden woods, lakes held motionless in time, hills wrapped in almost palpable fragrances, and Felicioni’s landscape neither swathes itself in easy effects, nor lapses into the repetitive, nor decks itself out in excess: it presents itself in its naturalistic truth, offered to a moved reading that finds no mannered formulas but confirms the grace of experiences drawn from the senses and set forth with sincerity and lyric authenticity.
As for Federico Felicioni’s portraits, those faces so alive with sincerity and light, in which likeness is joined to grace, where the physiognomy takes on intensity and the feature takes on loveliness.
Portraits mostly of women, which on the technical level too display remarkable qualities of draughtsmanship and expressive incisiveness, where shadows, tonalities and anatomical particulars take on a peculiar relief, far from convention.
In short, a painter, Federico Felicioni, who avoids fantasy so as not to come to terms with reality, and who, free of any academic or ideological insinuation, portrays events with the sobriety and the sweetness of one who trusts in offering sensations steeped in an aesthetic joy that is all their own and all sunlit.

Federico Felicioni begins to paint around the mid-1970s. A passionate devotee of painting, he lives in a house frescoed by important artists such as Giancarli, Rapetti and G. Dottori.
In 1976 he opens an art gallery that still exists today on Corso Cavour in Perugia. His painting is built above all on the Umbrian landscape, influenced as he is by the works of G. Dottori; the gentle hills, Lake Trasimeno and the colours of this region are his favourite subjects.
His first exhibition, in 1979, at the Sala San Severo of the City of Perugia, meets with great success both with the critics and in sales.
He takes part in various group exhibitions with Bacosi, Orfei, Frappi and other Umbrian artists.
His gallery shows paintings by artists from all over the world.
In the 1980s he takes part in the international Jacopone da Todi exhibition, a show that featured works by Guttuso, Maccari, De Pisis, Purificato and many others.
He takes part in the Premio Frappa painting review, where he wins the Baiocco Perugino.
He exhibits in Orvieto, Alviano Terme, Esanatoglia, Lausanne and so on, and then again in Perugia.
He is called upon to sit as a jury member for various painting prizes.
He and his work have drawn the interest and coverage of Rai3, with Duccio Travaglia, of Michel Portman in Switzerland, of the art critic Fausto Mercuri, of TeleAia, of the magazine Praxis, of La Nazione and Il Messaggero.
He also devotes himself to portraiture, portraying important figures.
He studies approaches to Art Informel but remains deeply attached to the Umbrian landscape.