It seems to me that there are two factors that have influenced the life and work of Lorenzo Chinnici, a Sicilian painter that has made the service to the people his vocation. One such factor is a significative meeting with Renato Guttuso in 1953. Even though a child at that time, Chinnici already had a clear idea about his artistic aspirations and was eager to learn from the well-known master. The other factor is long co-living with a disease, which has been damaging Chinnici particularly heavily and which is capable of undermining the sense that is, per antonomasia, a sense of painting: the eyesight. From the former, Chinnici received an imprinting, which has maintained its frank rustic character albeit changing over time in light of new encounters, new experiences of life and form, new mental acquisitions and new sensitivities, developed as a result. Chinnici has avoided any scholarly approach, even though knowledge and references to this or that artist are rather evident. All this with a view to keep utmost coherence between his mode of expression and the main object of his representations, the world of Sicilian common people, the primary veracity of which he grasps perfectly, as an equal, avoiding to mystify it under the aura of the idealization of the sociopolitical matrix (and this represents a major difference with Guttuso) or to trivialize it in search of a more folkloristic picturesqueness. The second factor has emphasized a predisposition of Chinnici, which was already inherent in his way of interpreting the world he encounters (a good example, in this sense, is the Fishermen cycle in the spirit of Michelangelo). The disease has immersed him in reluctancy and difficulty of living, which frees him from unjustified optimism or ancient romantic legacy, which viewed the condition of the commons as in itself the closest to the pure and the good. Nevertheless, Chinnici’s artwork is also far from lacking the pleasure of consoling serenity, when a balanced relationship between a man and nature is re-established. And if the sight does not always assist, it is the memory and the inner vision that compensate for it to confirm the fact that the eye is the most mental of all the senses.