Di Caprio_English version

Leonardo, Portrait in charcoal on paper A 3, by Franck. Rome June 1998.

In 2001, I could meet Leonardo Di Caprio, who was working in Martin Scorsese’s “Gangs of New York”, here in Rome.

As I often do, I bring my first portrait of his as a gift, a charcoal drawing. Leonardo was kind and, though it was late – he used to come back from Cinecittà Studios after 23 o’clock – he thanked me and took the scroll. Afterwards, I could see him to open it and walk more slowly.

I didn't expect more.

It was exciting because, waiting to meet him, I often talked with the ushers of the Hotel and the stewards outside the main entrance. The experienced ushers told me about the most famous celebrities they got the chance to see, about which popular actors/actresses they admired most and, finally, they could shake their hand to. The young stewards were curious why I was there with them, and would see my drawing.

At the end, whole of them was supporting me and even they felt more disappointed than me if I couldn't meet Leonardo. To say the truth, some of them commented, looking at the charcoal drawing, “Pearls to pigs!” – one Italian idiomatic expression to mean that one gives away something precious for someone else who doesn't understand the value.

Although, I consider this experience unique and positive, even if I didn't make friend with Leonardo, as I wished.

On those nights, I knew stories and people, and they all were touched by my artistic talent. It was enriching me, also with self-consciousness about my artistic skills.

Then, understanding that soon the movie’s rolling would have been finishing, I thought to paint one oil picture and give it as another gift.

The Roof Terrace in my house, where I painted the picture with oil colours. 

Going upstairs, on the roof terrace  in my house, I began to portrait one footage from his movie, not very popular, but for me extremely meaningful – “Total Eclipse”, by A. Holland.

Movie poster of "Total Eclipse", directed by A. Holland, 1995.

There, my admiration for his acting attitude and his beauty was one with my passion for the French poet Arthur Rimbaud.

I was thinking to paint together his face from a key scene of the film to a picture of a lion. I was inspired by one detail in one work by Klimt. So, I figured one powerful lion, laying by his side.

detail of the lion in "Leon-hart", by Franck 2001.

Why the lion? Well, because it’s the meaning for his name from Ancient Germanic “leon-hart”: “Strong as a lion”.

As you can see, it is a non-sense: one young boy, rather fragile and with fine appearance … though, for me, Leonardo Di Caprio shows nowadays a strong personality and potential, very powerful.

Detail of the face in "Leon-hart", by Franck 2001.

I remember taking two/three days to make it, thanks to the music from one Greatest Hits by the Beatles. All that ultramarine green was flowing magically along with “Come Together”. I have still in my mind the tender voice of George Harrison, who was helping me to overcome the fear of wasting the beauty in Leonardo’s eye, and George kept on singing: “Here comes the sun… Here comes the sun, and I say – it’s alright!...”.

That picture was my second since ever with oils colours and you might well understand my doubts!

After drying it, soon I took it to the hotel, in company with my parents who would have liked to see what was going to happen. After waiting in vain, I think it was Sunday morning, I left it to the Concierge. The Concierge Man was pleased and called stewards to take the picture upstairs, as soon as possible; then, he asked me if he could get a look. His surprise expression and his compliments for the likeness were satisfaction for me.

Meeting him again briefly, he stopped to ask to me aloud, on the other side of his car, whether I had painted the picture. And then, he commented: “Very fine cast!”.

Leon-hart, Portrait of Leonardo Di Caprio, oil colours on paper canvas, by Franck April 2001.

April 13^th 2001, I went and met him because my insiders told me that his leaving was near. The boy who had taken my portrait to his room, came close to me and gave me his compliments, he liked it. Then, he told me that Leonardo himself had wrapped my painting carefully and, together with other objects bought here in Rome, he had sent to California.

I was happy. Finally, that day, Leonardo Di Caprio allowed me to take a picture together. Soon after, he would have gone to USA and that photo was a special gift, only for me – actually, Leonardo would not that anyone took picture of him, neither fans.

Leonardo Di Caprio and Franck, Rome, April 13th 2001.