The green beetle is perfect;
the little spider spins its web fast;
the lizard looks at me closely
is immense and the blue sky above the mountain.
So painting:
as a day spent entirely.
Andrea
CRITICAL
Andrea Ornan, engages in the very large size and challenge at the village, landscape, transforming in painting, even proposing a virtual panorama allows the viewer to feel, by looking, visual continuity in the prosecution of lines and planes, the ridges and hills. true / false, real / ambiguous. Here is revealed the alchemy of painting: the artist see the nature and results through a process of perceptive synthesis into something else, in painting precisely not reality but appearance of it.
perceptual continuity but not photographic impression. Even the sky, the opening of the window is not part of canvas but as a surreal phenomenon.
Ornan living space with the sensitivity of topogafo: choose a higher point of view, almost a perspective a bird, built to plans by the color tones and muted terragni, large backgrounds that swell matter only where the swaying fronds of trees.
studies, small drawings and sketches that adorn apparent has learned the lesson of Paolo Uccello ( the landscape behind St. George and the Dragon Tate Gallery) and in general the traditional Tuscan fifteenth (the profiles of the hills of the tribute to Masaccio in the Brancacci Chapel ), but also borrowed from painting metaphysics, where the human you just feel suffocated by the almost total lack of vibration vital.
perceptual continuity but not photographic impression. Even the sky, the opening of the window is not part of canvas but as a surreal phenomenon.
Ornan living space with the sensitivity of topogafo: choose a higher point of view, almost a perspective a bird, built to plans by the color tones and muted terragni, large backgrounds that swell matter only where the swaying fronds of trees.
studies, small drawings and sketches that adorn apparent has learned the lesson of Paolo Uccello ( the landscape behind St. George and the Dragon Tate Gallery) and in general the traditional Tuscan fifteenth (the profiles of the hills of the tribute to Masaccio in the Brancacci Chapel ), but also borrowed from painting metaphysics, where the human you just feel suffocated by the almost total lack of vibration vital.
Rosella Alberti
BIOGRAPHY
2005 - Collective: "the streets of the Mugello" , Convent of the Friars Bo sco, Cafaggiolo Villa, Chapel of Trebbio Castle, San Piero a Sieve Barberino del Mugello (FI).
2006 - Collective: "On the magic between the hills and the sky Mugello. The to Angela Angel " , Convent of Bosco ai Frati , Cafaggiolo Villa, House of Giotto, S. Piero a Sieve, Barberino del Mugello, Vicchio (FI).
- Collective: "Hills and Heavens of the Mugello. The angels of Fra Angelico " , Pace University, Michael Shimmel Center for the Arts, New York City .
2007
- Collective: "On the magic between the hills and skies of the Mugello. Angels of the Angel " Foundation, Ca 'The Hurdy-Gurdy Museum of Modern and Contemporary Art, Zola Predosa (BO).
- Collective: "Privateflat 3.1" , private apartments, Florence. - Collective: "The landscape of the Mugello" , Careggi hospital (Florence).
2008
- Collective: "The land of Chiusdino painted and hung on the window , the historic center of Chiudino, Pieve di San Martino, abbey of San Galgano (SI) .
- Collective: "Privateflat 3.1" , private apartments, Florence. - Collective: "The landscape of the Mugello" , Careggi hospital (Florence).
2008
- Collective: "The land of Chiusdino painted and hung on the window , the historic center of Chiudino, Pieve di San Martino, abbey of San Galgano (SI) .
first study to large landscape 2007 Acrylic and graphite on paper 21x29 cm
Shed tonal 2008 Graphite on cardboard 26x30 cm
Studio 2007 Acrylic on canvas 10x8 cm
Harvest thresh-sun 2007 Acrylic on wood 8x6 cm
Behind the abbey: study II 2008 Acrylic on wood 31x50 cm
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