An art critic is lucky enough if they find great talents on their way. But luck, as Machiavelli said, is useless if one does not make a virtue out of it. Hence, my commitment to the widest possible dissemination of the works of the young but already very well-known artist Rubens Fogacci, whose pictorial language has captured art lovers for several years now. In his paintings, we find the magic that has always accompanied the works of great artists, namely they lead the beholders to look beyond what the eye sees, making them share in the story of the work. If I were to describe Rubens characters using metaphors, I would have to dissect the figure into two different parts in order to analyze first its body and then its face. I would compare the bodies of both its male and female figures to an architectural work that has lost its functionality, no longer being a scientific instrument, to become imaginary, a metaphysical instrument which enables to access the profound world, the unconscious, solemnly violating the prohibition which imposes not to fantasize and follow the principle of reality, instead. I would genius, his sinuous shapes that childishly take us back to the dream, the imaginary, the magical, surrendering to the unconscious, the dreams, the restless and subtle ambiguities of the sublimated worlds to give rise to a magical realism, in which every individual can find what they like the most just by fantasizing, thus diving into the depths of psyche, self, and even question what until then was believed to be absolutely true. By referring to the bodies in the artist paintings as living architectures, the connection with Steiner anthroposophy is only too natural and derives from the sensuality and sinuosity of the curved line, that natural sense of hospitality which removes the barrier that separates the observer from Rubens characters, who immediately become well known and familiar. With regard to the faces, just as natural is a mention of the cursed artist par excellence, for such things like those big noses, the expressionist use of color, the sinuous line, the constructive brush. All these elements remind of Mod igrave;, associating the two artists introspective painting which arises from the unconscious of the artist, the human condition, the difficulties of life. With his painting, Rubens achieves two things at once: the aesthetic result, thanks to the pleasantness of the strokes and the colors, and the philosophical significance, that from Botticelli Venus onwards has always characterized those artists who pursue a conceptual representation of the human figure.