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Context analysis of kungpaopanda.com
Number of letters on this page:
237
Number of words on this page:
53
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क उ ञ ग प अ ओ प अ ञ द अ . च ओ म
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ק(k) (u) נ ג פּ (a) (ο) פּ (a) נ ד (a) . ק(c) (ο) מ
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к у н г п a о п a н д a . ц о м
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ك (u) ن غ (p) ا (o) (p) ا ن د ا . (c) (o) م
Domain name with Greek letters:
κ υ ν γ π α ο π α ν δ α . χ ο μ
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开 伊吾 艾娜 吉 屁 诶 哦 屁 诶 艾娜 迪 诶 . 西 哦 艾马
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uaoaa.o
Alphabet positions:
k11 u21 n14 g7 p16 a1 o15 p16 a1 n14 d4 a1 . c3 o15 m13
Domain name pattern:
V: Vowel, C: Consonant, N: Number
V: Vowel, C: Consonant, N: Number
C V C C C V V C V C C V . C V C
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inside my art oltre il segno Franco Rinaldi artista website con immagini opere d'arte contemporanea moderna,originali visioni del fantastico,pittore e incisore surrealista,immagini apparse mostra azimut,works of contemporary art created on paper and on canvas, grafiche xilografie edizioni libri d'arte Pulcinoelefante l'Obliquo Stile Arte La Compagnia Della Stampa poeti Alberto Casiraghy A. Pelliccioli A.Albertini Fra Galdino Tagliabue Testi critici di Arturo Schwartz Riccardo Barletta Alberto Albertini Giuseppe Fusari Nicola Baroni Maurizio Bernardelli Curuz Roberto Sanesi Renzo Margonari Alda Merini Anna Maria di Paolo Agostino Mantovani Giulia Bassi Donato Di Poce tra letteratura e poesia. An Italian artist,painting,born in Bagnolo Mella,Brescia in 1954,he has devoted himself to painting ever since the late 70's.He has made himself known in several individual exibitions as well as in collective shows.Since 1989, he has also taken up graphics;he did the xylography on the front cover of the book by Alda Merini " La Vita Facile ",Bompiani 1996.For the editions "L'obliquo",he has published "Il mio Oceano che dorme" 1996 together with Alberto Casiraghy, and "Fuochi Fatui" with Alberto Albertini.For the editions "Pulcino-Elefante" he has published numerous "short books" with various authors.Among the critics and journalists who have written on his works there are Riccardo Barletta,Elvira Cassa Salvi,Mauro Corradini,Fausto Lorenzi,Renzo Margonari,Alda Merini,Anna Maria Di Paolo,Ito Itaru,Mauro Panzera,Roberto Sanesi,Rosa Roselli,Arturo Schwarz,Vito Ventrella,Agostino Mantovani,Maurizio Bernardelli Curuz,Nadiolinda,Andrea Arcai,Alberto Albertini,Antonia Bertelli. Brescia, eminente città d'arte fin dall'antichità, nel moderno ha avuto nel secolo scorso come protagonista nell'avanguardia - prima collezionista e poi autore - Guglielmo Achille Cavellini. Questa monografia allarga l'apporto della città alla cultura del moderno. Esiste un'altro emergente, Franco Rinaldi. Per anni accanito appartato pittore con mostre in Italia e all'estero, è finalmente ora conoscibile e apprezzabile nell' ampio arco di produzione. Narratore di pungenti miti attuali, parla la qualità delle opere di lucida visionarietà, nella brillantezza incisiva del colore, nel ritmo compositivo, unito a raffinatezza dei luminismi e magia degli insiemi.Già nel 1994 il critico Renzo Margonari di lui annotava: S'annuncia tra le voci più incisive e nuove dell'arte bresciana d'oggi, e una voce con un'estensione, tra le pochissime dell'arte nuova di questa città, che gli consentirà udienza ben più ampia. Undici anni dopo questo si avvera. Lo studio approfondito di uno specialista come Riccardo Barletta, ne inquadra i passaggi e ne sonda i momenti più acuti. Ne delinea dal punto di vista sia stilistico e sia del pensiero immessovi il perspicace impegno nella più avvertita cultura presente.Come definire l'arte di Rinaldi? Certamente essa fa parte della famiglia dell'Arte Fantastica. La sua tangenza più naturale è quella del Surrealismo. Mentre l'estensore del saggio, iconologo e antropologo junghiano di lunga data, la immette spiegandola nel suo specifico alveo, che è quello di una pittura alchemica. Accezione meno nota ai più. Ma che divenne finalmente di dominio comune nel 1986, con l'edizione focalizzata sull'argomento della Biennale di Venezia, curata da Arturo Schwarz. Del quale la monografia riporta una puntuale e magistrale analisi di tipo ideologico, finora inedita.Sul piano della storia dell'arte, Rinaldi ha una partenza emotiva dalla lezione dechirichiana; quindi si disgiunge da essa avvertendo echi dalla Transavanguardia; per poi un coraggioso incanalarsi definitivamente nella costruzione di una iconografia personalissima. Qui il conflitto tra mondo naturale e mondo artificiale prende le forme di sogni suggestivi. Vi si incontrano molte figure archetipiche, come la montagna sacra, i mondi di fuoco e quelli delle acque, per giungere a bianche maschere incorporee. Veri icastici eburnei guru che annunciano la successiva fase: quella del viaggio sotterraneo, descensus ad inferos. In cui l'artista diventa un vero reporter, un enciclopedista. Scopritore di inventate morfologie umanoidi, animali, vegetali e di suggestivi paesaggi sotterranei, che ci raccontano non calpestati mondi. Forse prefigurazioni future.Detto ricco corpus di visioni - non riscontrabile nel panorama dell'arte d'oggi - richiama la storia naturale descritta da Paul Klee, laddove ieri il grande maestro focalizzava l'organicità di una natura madre, mentre questa che Rinaldi con visibile angoscia addita è lo stupro incessante sul pianeta praticato dalla Technè alla natura; quindi una natura matrigna. Peraltro è la condizione umana che ne viene compromessa. Il carattere formale e tattile di personaggi e oggetti rappresentati appare, nei dipinti di questo viaggio, sempre per così dire metallurgico. A indicare, nella sadicità tutta freddi bagliori, la compromissione della parte più intima e vera dell'Io. Quindi uno stile, personalissimo, che può definirsi un iperrealismo dell'anima, descrive questa osmosi confusiva di generi e specie.Le epifaniche visioni che formano tale mitopoiesi esprimono, per la bravura e la sensibilità dell' autore, una loro inconosciuta bellezza. Uno stupore ricco di humour, di scatti nel meraviglioso. Viaggi in una archetipologia che risveglia nell'inconscio degli spettatori nicchie di magia, altrimenti destinate a rimanere per sempre addormentate. E ci˜ si riscontra pure nel resto della copiosa produzione di Rinaldi. Una attività molto ludica che va dalla grafica ai linoleum, dai libri d'artista alle ceramiche, dalle xilografie alle (per ora) poche sculture. Brescia, a renowned city of art ever since ancient times, is proud to have been the home of one of the great protagonists of last century's avant-garde, Guglielmo Achille Cavellini, who was first a collector and successively an author. This monography aims at a deeper insight of the city's role within modern art. An upcoming position is certainly represented by Franco Rinaldi. For years he has been working aloof in self-contained attitude, but with exhibitions in Italy and abroad. Today his wide span of production is finally made approachable and available and we are allowed to appreciate his inclination to disclose contemporary myths, his bent for clear, lucid visions and sharp, brilliant colours; we welcome his compositive rhythm, his refined luminism and the magic spell of his ensembles. Back in 1994, the art critic Renzo Margonari wrote of him: "He can be accounted for as one of the most peculiar and new voices of art, present in Brescia today, a voice extending itself well beyond provincial boundaries and deserving a much wider audience". Eleven years after, this judgement comes true. The deep analysis of an authority as Riccardo Barletta throws light on his stages, probes his development and traces both stylistically and substantially Rinaldi's commitment in the today's most conscious cultural milieu.How could we define Rinaldi's art? Certainly it is part of the Art of Imagination. It positively communicates an immediate relationship to Surrealism. The essayist, who has long been an iconologist and an anthropologist of Jungian observance, defines it as "alchemic painting", an uncommon term which gained public attention in 1986, when the Biennale of Venice focused on it. That Biennale was supervised by Arturo Schwarz, of whom the treatise includes an exact and masterly analysis.In order to place him historically, Rinaldi moves his first step while learning De Chirico's lesson; then he swerves slightly away, influenced by the echoes of the Transavantgarde; afterwards he boldly takes the route of a very personal iconography. Here the clash between the natural world and the artificial world assumes the features of evocative dreams; we come to meet various archetypal images such as the sacred mountain, the worlds of fires and of waters, white bodiless masks. These may be termed as true, ivory-like gurus who announce the successive phase: the subterranean trip, "descensus ad inferos", in which the artist turns into an actual reporter, an encyclopaedist. Here Rinaldi becomes a discoverer of invented morphologies, which may recall humans or animals or plants, an explorer of outlandish subterranean landscapes telling us of untrodden, unaccounted territories. Foresights perhaps of worlds-to-be.Such a rich corpus of visions, unaccountable in the art of today, reminds us the "natural history" as told by Paul Klee, wherein the great master gave evidence of the organic unity of nature as a "mother", whilst Rinaldi, with painstaking grief, points out the never-ending rape to which the "Technè" comdemns our planet; thus nature is not a loving mother but a "matrigna", a cruel mother. In his paintings, the formal and tactile features of humans and objects appear to us as "metallurgic", to emphasize the compromised commutation of the most intimate face of the "self", bound and committed to survive. In other words, a highly personal style which can be defined a "hyper-realism of the soul", dramatized by freezing glows over an osmosis of genres and species.The epiphanies of this mythopoeia express a restrained beauty; the sensitivity and the cleverness of the author arouse in the spectator amazement, wonder and a hint of humour, it is the beginning of a trip that excites rifts of magic in our unconsciuos. All this may be found through Rinaldi's copious production, testifying a ludic activity ranging from graphics to linoleum, from art books to ceramics, from xylographies to a few (so far) sculptures.Traduction by Giovanni Capra.Born in 1954, he has devoted himself to painting ever since the late 70's. 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