![Maristella Angeli, included in the text of art history "Artistic currents compared in the XXI century"](https://www.premioceleste.it/indi/_pics/2/4/copertina_12418_2005.jpg "Maristella Angeli, included in the text of art history "Artistic currents compared in the XXI century"")
Critical texts, Italy, Napoli, 21 July 2018
A nice news!
I was included in the text of art history "Artistic currents compared in the XXI century" volume 4 °, edited by Rosario Pinto, well-known historian and art critic, published by the Naples Nostra Association. The volume will be distributed in all Italian libraries and will be archived at the Thomas J. Watson Library of the Metropolitan Museum in New York, where a pool of scholars is conducting research on contemporary world art.
Historian and art critic Rosario Pinto
They are always important and worthy of reporting the results that can be appreciated in a painting that, choosing not to abandon the relationship with the object's objectivity of things, is not limited to an anodyne record of the existing and does not propose itself as a nostalgic remnant of a rather simplistically figurative line, going to determine, rather, unpublished experiences of a contact with the epiphenomenial dimension of things, which, at this point, appear, rather than portrayed, interpreted.
It is a figuration presided over by a 'representative' need, in fact that which embodies the creative practice of Maristella Angeli, a painter of Umbrian origin who seems to let re-emerge in her work the late-gothic finesses of that transitional age that undermined the last gasps. of the medieval logics, not impulsively introducing the new Renaissance, but pointing out how much preciousness could still be contained in a painting of our artist, who works with a careful and inquisitive look, knowing how to turn sharply to model a predictive arrangement of things and taking care to build a universe that we would like to define as fantasmatic because of the liberating fabulatrix that distinguishes and qualifies space and objects.
Very important is the relationship with nature in Maristella Angeli's painting, a relationship understood in broad and discursive terms, typical of an artist who knows how to grasp the most authentic sense of a figurative research capable of turning to a careful and controlled analysis of everything that surrounds it.
Perdicaro says of her: "A painting of great cultural and ethical commitment, her, which is appreciated above all for the interpretive versatility of style and the lyrical communicative capacity, which summarizes in refined syntheses, intuitions, reflections and creative elaborations of forms and colors ".
We will look at some of the works of this artist, such as "In search of the sky", an acrylic of 2015, which reveals the profound intuition that the painter knows how to field in providing convincing representation of a subject apparently simple, like a tree, which she however, with her descriptive capacity. it gives fullness and meaningful autonomy, extending the purely objective data of the consistency of the tree into a wider opportunity for 'transversal' reading of the world, without having to resort, obviously - and this is a very great merit - to the formal lenocinio of particular executive strattagemmi and less still the renunciation of pushing the most intense port of the figurative marking to probe more radical opportunities for contentment.
From the text "Between tradition and innovation - Movements and ideas of contemporary art from Impressionism to the Millennium, Volume IV, by Rosario Pinto Ed. Napoli Nostra.
Artist Maristella Angeli: pages 126, 184, 185
Pictorial works included: "The forest of dreams", "The tree of wisdom", "The roots of the soul", "Our branches and our roots"
I was included in the text of art history "Artistic currents compared in the XXI century" volume 4 °, edited by Rosario Pinto, well-known historian and art critic, published by the Naples Nostra Association. The volume will be distributed in all Italian libraries and will be archived at the Thomas J. Watson Library of the Metropolitan Museum in New York, where a pool of scholars is conducting research on contemporary world art.
Historian and art critic Rosario Pinto
They are always important and worthy of reporting the results that can be appreciated in a painting that, choosing not to abandon the relationship with the object's objectivity of things, is not limited to an anodyne record of the existing and does not propose itself as a nostalgic remnant of a rather simplistically figurative line, going to determine, rather, unpublished experiences of a contact with the epiphenomenial dimension of things, which, at this point, appear, rather than portrayed, interpreted.
It is a figuration presided over by a 'representative' need, in fact that which embodies the creative practice of Maristella Angeli, a painter of Umbrian origin who seems to let re-emerge in her work the late-gothic finesses of that transitional age that undermined the last gasps. of the medieval logics, not impulsively introducing the new Renaissance, but pointing out how much preciousness could still be contained in a painting of our artist, who works with a careful and inquisitive look, knowing how to turn sharply to model a predictive arrangement of things and taking care to build a universe that we would like to define as fantasmatic because of the liberating fabulatrix that distinguishes and qualifies space and objects.
Very important is the relationship with nature in Maristella Angeli's painting, a relationship understood in broad and discursive terms, typical of an artist who knows how to grasp the most authentic sense of a figurative research capable of turning to a careful and controlled analysis of everything that surrounds it.
Perdicaro says of her: "A painting of great cultural and ethical commitment, her, which is appreciated above all for the interpretive versatility of style and the lyrical communicative capacity, which summarizes in refined syntheses, intuitions, reflections and creative elaborations of forms and colors ".
We will look at some of the works of this artist, such as "In search of the sky", an acrylic of 2015, which reveals the profound intuition that the painter knows how to field in providing convincing representation of a subject apparently simple, like a tree, which she however, with her descriptive capacity. it gives fullness and meaningful autonomy, extending the purely objective data of the consistency of the tree into a wider opportunity for 'transversal' reading of the world, without having to resort, obviously - and this is a very great merit - to the formal lenocinio of particular executive strattagemmi and less still the renunciation of pushing the most intense port of the figurative marking to probe more radical opportunities for contentment.
From the text "Between tradition and innovation - Movements and ideas of contemporary art from Impressionism to the Millennium, Volume IV, by Rosario Pinto Ed. Napoli Nostra.
Artist Maristella Angeli: pages 126, 184, 185
Pictorial works included: "The forest of dreams", "The tree of wisdom", "The roots of the soul", "Our branches and our roots"
Comments 11
Say something