Francesco Cervelli (Rome 1965) uses painting as a tool for a dense reflection on the 20th century from birth to dearth, and at the same time an in-depth investigation of his own personality. Adopting a rigorous methodology for identifying, researching and recreating his iconographic sources, the artist thus established a dialogue with the symbolic ideologies and images of the past century in painting cycles with combine portraiture with landscapes and interiors. This creative process began and came full circle with his Emergenti cycle, portraying many leading figures in philosophy, politics and the arts who in various ways anticipated, influenced, marked and transformed the 20 century: from Hegel, Marx, Nietzsche, Freud, Einstein, Foucault, to Churchill, Van Gogh, Picasso, Duchamp, D’Annunzio and Pasolini. Accompanying the portraits are metaphorical forests and places marked by the presence of these important figures: Freud’s study, D’Annunzio’s Vittoriale, Picasso’s atelier. Like the portraits, these works hang in the balance between a sense of r eturn from the darkness of the past and a vision of extr eme dissolution, between fragility and r ebirth, indicated by the presence of that liquefaction used by the artist in his work as a symbolic element, an allusive tool which remains open to doubt and the potential dialectics of interpretation.
Titolo: | La scomparsa e il ritorno |
Autori: | |
Data di pubblicazione: | 2008 |
Abstract: | Francesco Cervelli (Rome 1965) uses painting as a tool for a dense reflection on the 20th century from birth to dearth, and at the same time an in-depth investigation of his own personality. Adopting a rigorous methodology for identifying, researching and recreating his iconographic sources, the artist thus established a dialogue with the symbolic ideologies and images of the past century in painting cycles with combine portraiture with landscapes and interiors. This creative process began and came full circle with his Emergenti cycle, portraying many leading figures in philosophy, politics and the arts who in various ways anticipated, influenced, marked and transformed the 20
century: from Hegel, Marx, Nietzsche, Freud, Einstein, Foucault, to Churchill, Van Gogh, Picasso, Duchamp, D’Annunzio and Pasolini. Accompanying the portraits are metaphorical forests and places marked by the presence of these important figures: Freud’s study, D’Annunzio’s Vittoriale, Picasso’s atelier. Like the portraits, these works hang in the balance between a sense of r eturn from the darkness of the past and a vision of extr eme dissolution, between fragility and r ebirth, indicated by the presence of that liquefaction used by the artist in his work as a symbolic element, an allusive tool which remains open to doubt and the potential dialectics of interpretation. Francesco Cervelli (Roma 1965) utilizza la pittura come strumento per una densa riflessione sul Novecento, attraversato dai suoi albori al suo tramonto, che nasconde anche un’operazione di scavo nel profondo personale. Con un metodo rigoroso di individuazione, studio e ricreazione delle sue fonti iconografiche, l’artista dialoga dunque con le ideologie e le immagini simboliche del secolo appena trascorso in cicli pittorici che uniscono il ritratto, al paesaggio e alla pittura d’interni. Questo itinerario è partito e si è concluso in modo circolare con il ciclo degli Emergenti dove sono rappresentati molti protagonisti del pensiero, della politica e delle arti che, in modi diversi, hanno anticipato, influenzato, segnato e trasformato il Novecento: da Hegel, Marx, Nietzsche, Freud, Einstein, Foucault, fino a Churchill, Van Gogh, Picasso, Duchamp, D’Annunzio e Pasolini. A queste opere si affiancano foreste metaforiche e luoghi segnati dalla presenza di quei personaggi: lo studio di Freud, il Vittoriale di D’Annunzio, l’atelier di Picasso che, come i ritratti, sono in bilico tra un senso di ritorno dal buio del passato e una visione di dissoluzione estrema, tra la caducità e la rinascita segnate dalla presenza della liquefazione che l’artista ha utilizzato come elemento simbolico del proprio lavoro, uno strumento allusivo che resta aperto al dubbio e alle possibili dialettiche dell’interpretazione. |
Handle: | http://hdl.handle.net/11695/13250 |
ISBN: | 9788836612499 |
Appare nelle tipologie: | 2.1 Contributo in volume (Capitolo o Saggio) |