Carmelo Zotti now purges. Here are his 80 years

Carmelo Zotti now purges. Here are his 80 years

La Nuova Venezia, The Morning of Padua La Tribuna di Treviso
Carmelo Zotti now purges. Here are his 80's
May 5, 2012 - page 55 Section: National
Fausto Politino
Two fundamental contributions to approach or to explore the development of pictorial Carmelo Zotti, the artist Trieste Venetian by birth and by adoption, who taught at the Academy of Venice from 1967 to 1990. The first is the release of the second volume of the catalog of the works published by Skira, edited by Dino Marangon, Franco bazzotto, Brigitte Brand and Michael Beraldo with a critical introduction by Francesco Poli and support of Euromobil Group, which collects and sorts chronologically over a thousand creations between 1980 and 2007. Despite the broad critical overview and major exhibitions, there was still the general purge of the work of the artist. This publication, along with the first that gathers 620 works from 1952 to 1979, offers the opportunity to navigate in the different stages of production of Carmelo Zotti. Especially the one which illustrates the constant presence of the myth in the images of the last period. Immersed in the suspension and the mystery even if they seem to apparentarsi common to see. The second is the exhibition of Villa Pisani in Stra, after that of Rimini in Castel Sismondo, curated by Marco Goldin: thirty paintings that revolve around the eighties. Considered among the most original and personal of Italian painting of the decade. He moved to Venice in '45, in the lagoon city Zotti reveals his interest in the contents mythical and fabulous feature from the impression symbolic / surreal present in Europe, far from provincial contamination. From Deported, a torso without arms erased from the face battered upset painted in 1959 when the season is running out of the Informal power of innovation, in his painting you can hear the echoes of Wols, De Kooning, Fautrier. The subjects that recur in his works are the human figures that may have a specific historical connotations, such as oil of 1980, Cleopatra, set in a colorful landscape where the amber tones of the foliage of the famous queen of Egypt reflect that of the rock that ago by the sfondo.Siamo clearly in the presence of a space where you can feel the charm of Böcklin Savinio De Chirico, with the prevalence of accents visionaries. With a natural setting that though recognizable, decanted the external references in a dream-like landscape materiality. In 1975, with the creation of the island, Zotti place to soak up the atmosphere that varies between Symbolism and Surrealism. But you have to get to 1985, Evening, to meet a framework "singular powerful mysterious." The subject has as its theme the deposition of the dead Christ, played secularly without the involvement of pious women. Three possible levels of interpretation. The silver body, very human, the son of God marked signs swirling aggrumati even a tree that emphasize the loneliness. And the sky silent witness that vibrates in a tangle of expressionist brushstrokes. Zotti. Eighties. From 5 to 27 May 2012 Stra, National Museum of Villa Pisani

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