The evolution of the pictorial language found in the portraits is also observed in the landscapes: when he returned from Paris in 1911-12, with his divided brushstrokes, Curcio shows how much he assimilated from the French experience, showing the trend to identify planes of colours with soft contours even in the play of colour contrasts between light and shadow, rich in coloured reflections.
Rarer in Curcio’s production are still-life paintings, intended as an autonomous subject,
while they are quite frequent within more complex paintings.
