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Landscapes
have ever been one of the most interesting prerogatives of the School
of Veneto, since the Settecento with Marco Ricci and then Canaletto,
Zuccarelli, Francesco Guardi and Tiepolo too.
Closer
to us "the painters of Burano" or better the "School of Burano" established
Gino Rossi, Umberto Moglioli and Pio Semeghi in 1913.
Successor
of this artists group from Burano is the painter Giancarlo Novello,
Venetian, a meaningful painter of Italian landscapes and more exactly
of the Veneto ones.
Venetia caught on different hours, land and sea foreshortens, ships,
Burano, hills, squares, houses, churches, all breathes clean and new,
almost as a holiday.
So
he's a painter linked to the Venetian painting and not only strictly
lagoon, but he is present as well within the so called naturalists-impressionists
featured by a sign and a sketch vibrating as the mobility of children'
eyes.
There's
also the recover of the French post-impressionists lesson, but it is
the school of Burano that influences him mainly, making him forget the
extent it sets apart figuration nowadays.
All landscapes have an elegiac intonation converging into so much poetry
and revealing a transparent psychology too, an almost imperceptible
soul consonance.
Solar
Mediterranean landscapes with that glazing of mists and the light beating
inside reverberating thousand rains.
Novello
chose a place between land and sea that is Burano, a landscape formed
by the gardens and the channels of Burano, Mazzorbo and Torcello, with
a sign all caught sur le motif and on particular moments.
Those are by Novello, a highly respected painter from Veneto, descriptions
of life, joys, melancholies, neat in their richness of tones and colours,
unforgettable architectonic foreshortens.
The
exhibitions in the North Italy area and the presence in several museums
of contemporaneous art make of him a landscape painter close to inwards
conditions and frames of mind, with tonalities that taste sometimes
of a spiritualised wait, sometimes of rife realism, whose whitish and
bluish tones match not only the clear refinement but the fixity of a
metaphysic glance that releases a stupefacient magic air or naiveté.
Well
then Novello knows how to draw, as he knows how to paint, meaning that
under every colour and outline there's a structure of the sign that
argues the same ingenuous and sun landscape.
These
sea foreshortens may and must surprise.
They rely on a free and infant sequence, irrational and emotional, turned
limped and magic.
So
then the daily matters of this painting are assimilated in a sole value,
that is the village, the country, the marina, the ships ready for fishing,
that way dug from the landscape between light and colour and also sodden
with solitude. Everything vaporizes into a fragile poetry investing
everything and giving everything life and heart, the same that brings
any painter as Novello to make reality vibrating.
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