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Dates - 2015
  5th - 25th November: Exhibition Art "Suggestioni dalla natura" at ArteArte Gallery Mantova. Opening on November 5 at 17.00. Curator of the exhibition Valentina...
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    "GALLERIA INTERNAZIONALE" di Viareggio "IL MERCADANTE" di Levanto "GALLERIA NAZIONALE" di...

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Reflections of the sea

Today and in the twenty-first century landscape painting of the sea appears as a genre out of fashion. Many of us have grown up seeing in the walls of their homes or other reproductions of landscapes elegiac images of marine life. Most of the paintings sold in department stores, whether they are originals or reproductions, depict landscapes untouched and beautiful. With this collective are belittled previous comments, indeed canceled, the 10 artists: Elio Agelli, Sabrina White, Fabio Massimo Caruso, Barbara Ghisi, Pierluigi Skinny, Titian Marchioni, Bettina Patermo, Ornella Pedrotti and Gilberto Piccinini show that the art of seascape has its own continuity and completely original, not wanting to imitate the past, but want to look into the future, despite the past in some of them was surely the school. Their eyes are a world of quiet, peaceful and sometimes restless and turbulent, but permaso by the beauty of God's creation, that a careless eye may be kitsch, customary law. Instead show a search in the landscape, a view, a view, a refuge, these artists, unknowingly, are looking for high points from which scan the sea to sight angles or scenes to hide. The artist, then, is the one who arranges the event, but it is the observer who must implement. The painter, photographer, printmaker, is the feeling that high test instant that creates the landscape. The eye wanders over the sea, the look is completely relaxed, not fixed never too long in one place, the edges of the visual field are as much as the filter. It seems for a moment, the self coincides with what is assimilated.
Understand the landscape is not only observe, but also know that it can feed our imagination and our dreams, which can be a place of revelation. A stormy sea, a traveler lost in the sea, the fishermen unload the goods from the boats, the waves that break on the coast, the quiet of a sea of ​​deep blue, do not seem to make up our minds but to appeal to our emotional enthusiasm, involving us in fascinating visual explorations. Just landscape painting responds to a historical development of sensory perception and sensitivity. The seascape is not in any way disturbs our mental processes, indeed encourages reflection. The world of art is not intended to reflect, in a more or less mimetic varied and colorful natural environment. Right on the relationship between landscape and marine observer would bring the artist's words Vija Celmins, which depicts in its panels the immeasurable depths of space and also the ocean and seas involving the audience: "My works do not exist in a world itself. They are created for the observers to come to life ... in need of an interest, and by that I mean the participation of visual space. " The participation of the observer is crucial painters do not create a "real" space as do architects draw up an experience of the space that the observer himself has put in place.
Even the landscape historically has had its difficulties. During the Renaissance, the official judging, regarding landscape were unflattering. Leon Battista Alberti relegated to the lower levels of the hierarchy painting: "The landscapes, water, fish and ports, which represent the trades, soothe the people, because they are cowards and are unrelated to the severity of his public life ... The work, which is necessary for the survival can only be represented with the amused laugh of comedy, or the sweetness of the grotesque. " As the arts acquired the confidence to compete with the human sciences noblest, genres such as landscape, which seemed to require less effort intellectual, were relegated to an inferior status. When the Dutch painters, in contract with the Italian Renaissance, began to promote the visual impressions at the expense of the themes and idealized diverged more and more issues of landscape, such as marine, from their seats academic art popes dismissed these images as free of significance, since that brightened only the eye and not the intellect. The official verdict on the landscape and the sea is only one side of the coin, the other side of the immense benefit of the public that this pictorial genre enjoyed for centuries disavowed the academic cliché. In the eighteenth century, the landscape is imbued with changes, you have the desire to grow more and more burning sensations, feelings and atmospheres.
The sea is a favorite subject for artists of yesterday and today as the 10 players in this group: Elio Agelli, Sabrina White, Fabio Massimo Caruso, Barbara Ghisi, Pierluigi Skinny, Titian Marchioni, Bettina Patermo, Ornella Pedrotti, Gilberto Piccinini and Stefano Tosi, both for its deep and endless suggestions, and for being the scene of activity inseparable from the path of man has been the scene of conquest, war, trade, scientific investigation.
In this collective feedback unconditional love by these artists of this great expanse of water, each with its own expression marina. A group of them approaches a serene calm painting, where the sea is calm and flat, lead us to reflect on life, to contemplate the work that is proposed to us. The second group represents the troubled sea, in a storm, with swirling waves that ripple, overwhelming our gaze, or represented by abstract lines that overwhelm that collide with each other. We feel a sense of anxiety and labyrinth from which it is easy to get out.
Finally, the third group of works in which he finds the living being: animal or person, taking in a stage, whether outside observers who attend the show. But what matters is that all these works make us able to provoke feelings.

Mara Campaner