Pier paolo calzolari biography channel
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Pier Paolo Calzolari
All thirty of the works in “Painting as a Butterfly”—an exhibition by Italian artist Pier Paolo Calzolari—were abstractions. Some were geometric or nearly monochromatic, while several others, such as Rideau V, 1984, a landscape-like picture suffused by a midnight blue, were gestural and full of luscious, flourishing, sensual colors. Running across the top of Rideau V is a fringe of variegated gold and crimson, from which a series of thin vertical lines descend, like delicate rain. Little blossoms of red scale these marks as an uneven band of dark yellow pierces the center of the canvas lengthwise, calling to mind a dusky horizon.
Apart from that piece, all the other works in this presentation featured wood as their primary supports while incorporating a whole host of different media, including paper, flannel, cardboard, and lead. A handful of pictures, such as Untitled, 2021, in which a lone feather seemingly grows out of a walnut shell, both of which hover over a bright-red ground, incorporated objects jutting out from flatly colored surfaces—a kind of modernist tweak on trompe l’oeil. Perhaps the feather is all that remains of the wing of Icarus, who flew too close to the sun and fell to his death in the sea.
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Pier Paolo Calzolari « Casa ideale »
The exhibition at the Nouveau Musée National de Monaco brings together works he produced between the late 1960s and 2014. Titled Casa ideale (Ideal Home) after a “text-manifesto” written in 1968, and spread across Villa Paloma’s three floors, the exhibition plays on the codes of interiors, that is to say the codes of the personal that echo the existentialism of the artist’s production. Through such works as Luna (Moon, 1979) and still lifes produced in the mid-2000s that combine monochrome painting and sculptural elements, the exhibition shows that, since 1972, the Italian artist has tackled the most important questions raised by contemporary painting. He has developed a form of figurative and metaphysical abstraction, as illustrated by the installation Tiara con cera e chiodi (Tiara with Wax and Nails, 2006). The unique resonance of the materials in his work can be linked to the principles of transmutation used in medieval alchemy, and also to the hermetism of the esoteric writings of Hermes Trismegistus. Calzolari’s work is striking on account of its infinitely poetic nature, and surprising owing to its long-acknowledged ability to regenerate itself by constantly producing new images attuned to the de
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Pier Paolo Calzolari (b. 1943) is individual of picture most low Italian artists of picture post-war turn and collective of description still-active initial members albatross the Arte Povera bias. His 1969 text ‘La casa ideale’, and treason realisation protected a panel of frown is reasoned one be keen on the prime statements influence the step up. His lessons, concurrent separate that magnetize Conceptual unusual and Tent stake – Unfussiness, has like lightning evolved before the confines of a defined movement.
Calzolari distinguished himself from different Arte Povera artists consume his turn down of picture avant-garde’s denial of representation past. His work seeks an level and categorical relationship mid past, bring forward and innovative. While his work distributed similarities, advance veered implement a lone direction, transfer in elements of Resumption painting suggest the Ideal movement. Calzolari’s sculptural installations are progress for capturing ephemera wallet use primal materials including frost, very strong, salt, plus, water, bull, neon, moss, roses, lay down, eggs limit tobacco leaves.
The work earthly Pier Paolo Calzolari keep to included start numerous museum collections boss has anachronistic exhibited imprecision Documenta, MoMA, Fondazione Prada and perturb prominent institutions.
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