Primaluce Tempera on canvas 25x40
End horizon oil on canvas cm.30x50 
a certain hour Oil on canvas. 30x50 
small boat in the evening oil on canvas. 40x50 
Light Sea oil on canvas. 50x70 The sea I have attended too little, perhaps for this reason they are fascinated. Painting the sea, trying to make the shimmering perpetual motion and music, with a drone, hypnotic rhythm and melody thin, is laborious, but it gives me the feeling of being there, sparkling waves and movement promotes meditation, as I happen to who draws a mandala.
Painting waves crashing on the rocks, can take advantage of the inherent spectacle of thunderous effect to mask shortcomings. Excluding Turner and a few others, the rough sea endorse the scene on the cheap. I am interested in entering the concept of the image, and the calm expanse of waves aroused in me more depth and mystery of a jumble of sketches and waves, even with a lot of stranded ship.
inspired pointillist technique, which are now used constantly by a dozen years, makes the process longer, because the tone that you could try mixing on the palette, it must be achieved by the juxtaposition of strokes of various colors, that sometimes require drying time to prevent the colors from getting dirty with each other.
The second from the top (oil on canvas 50x60) is the my early days with the arrangement, circa 1998, tentatively on a dominant player in blue, and even the best: take the pigments where it happened, the lack of money did not favor the possibility selective, and in all honesty, this painting, entitled " From the Sea ", I've never been too convinced, though most people liked, including the Maestro Olivieri, whose opinion I always keep in high esteem, is a fact that nobody has ever expressed a desire to buy it, so I keep it as testimony of the period, just after the resumption of oil paint.
inspired pointillist technique, which are now used constantly by a dozen years, makes the process longer, because the tone that you could try mixing on the palette, it must be achieved by the juxtaposition of strokes of various colors, that sometimes require drying time to prevent the colors from getting dirty with each other.
The second from the top (oil on canvas 50x60) is the my early days with the arrangement, circa 1998, tentatively on a dominant player in blue, and even the best: take the pigments where it happened, the lack of money did not favor the possibility selective, and in all honesty, this painting, entitled " From the Sea ", I've never been too convinced, though most people liked, including the Maestro Olivieri, whose opinion I always keep in high esteem, is a fact that nobody has ever expressed a desire to buy it, so I keep it as testimony of the period, just after the resumption of oil paint.
Over the next two significant 30x50, painted at different times but with similar mood, so I suggest them as a couple, without success. The above is titled "End of the horizon," and was painted after the other, that's called "After a while, wanting to be the light that fades the shadows before dawn, intent already in the first job Above a temperature del'94. Although undoubtedly figurative, abstract paintings can be seen as the understanding that I do not give any weight to gender differences, but I like to consider the effect of the colors I used in order to give light and space, space that is perceived as feeling, rather than devices built with perspective.
Moreover, it is my belief that the geometric perspective, with leakage points horizon and do not always make us feel in terms of space, with scientific claims, gives a performance, in fact, architecture is understood that by applying the canonical norms are found to be blocked, especially when it comes to central perspective, buying a metaphysical aspect.
I think the closet, I think, of St. Jerome, painted with unparalleled skill and careful application of the rules of perspective, from that Paul Bird who was one of the top researchers, and interior space, so effectively represented, I apparre accessory to the representation of multiple objects and animals depicting the cosmogony of the saint in question. If I think
Instead of a Hokusai landscape, even before the plants, rocks, clouds and birds illustrated, or the waves, I am beginning to consider the feeling of air space.
clear that the comparison does not alter the size of both the Masters, and my inadequate prose only serves to give a real idea of \u200b\u200bthe depth of field in my small size, expressed in the title of the picture painted for the second: the beach , lighthouse and boat damage measuring distances between them without being placed on joint guidelines on the horizon, which is out of context, as in the other two papers reported.
The "little boat in the evening" excludes the horizon with a view to flight, and here begins my research on the shadows cast on the water, I'm carrying on with more substantial works.
That place is basically a job three years ago, a totally invented parsaggio, cm. 50x70 "light on the sea" or "The Song of the waves," which I think I could feel satisfied, while the other is a little detective work, following memories. In the search there are also light and motion, a greater work than I'd like to consider transparency and reflections, all fluid elements, look through the figure to arrive at a representation where the elements are recognizable beyond the figures.
I in this way to continue on the path initiated by the Futurists, in the delirium dispersasi modernistic now, I think, would risk ridicule too risked more than it ever since.
Neither the futurists were disconnected from all the research, pursued for centuries, since the cavemen evoked on the rock that struck the prey in their rites: this is the 'eternal in Painting "claimed by Vincent Van Gogh
0 comments:
Post a Comment