Strongly influenced by Baroque painting, Roberto Ferri скачать в хорошем качестве

Strongly influenced by Baroque painting, Roberto Ferri

Roberto Ferri. He is one of the most famous painters of today is a devout Caravaggio follower. His paintings are an echo of Baroque through actual artistic language. Throughout the 15th century, the Renaissance recovered the artistic concepts of antiquity, and later the Baroque perfected them. Centuries later, Roberto Ferri rescued the Baroque and mixed them with modernity. He uses symbolism and romanticism to dust them off: today, they are still valid as a means of artistic expression. In the 21st century, he opens a tunnel to the past and allows us to live a Millennial Baroque that serves as a tribute and, at the same time, expands the style to new frontiers. Born in Taranto in 1978, Ferri studied at the Liceo Artistico Lisippo in the same city in 1996. It was a local art school where he began his relationship with painting. Later he moved to Rome. There he began investigating and feeling attracted by the baroque artists, focusing some of his research works on the painting of the late sixteenth century. His works are part of private collections in many of the great cities of the world: Paris, Madrid, London, and Rome, among others. In 2021 Magnum commissioned him to paint a picture on the 700th anniversary of the death of Dante Alighieri; the result was the exhibition at the Palazzo Firenze in Rome of the painting The Kiss of Dante and Beatrice. Unlike people like Caravaggio (the artist from whom Ferri has drunk the most, and it shows) or Bouguereau, the Italian artist uses the nude as the inalienable basis of his pictorial language. He does so because he gives powerlessness to the nexus between flesh and reality. Another artist has an evident influence on some of Ferri’s paintings: the Spanish painter Velázquez, one of the most important and influential Baroque figures. His echo can be noticed when observing the faces, which express the feelings Ferri wants to convey with depth and intensity. As we can see in Dawn Vermilion, there is a fusion between the classic and a terror that could be cataloged as Lovecraftian. Ferri mixes with an attractive force the traditional concepts of Baroque beauty with traces of oneirism, all under a nightmarish sieve that gives the paintings a special aura. In the painting we are talking about, we can observe the treatment of the human body, realistically defined and in a position of tension that shows veins and muscles; it was a resource used by Caravaggio. We also see the use of shadows to highlight the body against a dark background without further interest. The key elements are a naked torso and precise and well-marked musculature. A red cloth is contrast and, simultaneously, a dramatic reinforcement. These are the classic elements, but we also see terror details in the stuff the protagonist has nailed to his abdomen. At the top, a skeleton of a demonic being deepens the man’s agony and floods the scene with a tone of terror. In Ferri’s compositions, it is the human bodies that are important. The scenery and backgrounds are entirely irrelevant. There is no interest in showing a set that could be symbolic, nor a setting that would help explain the piece. The flesh is enough. It expresses all that is necessary to explain the human being since it is what we are made of. This importance of flesh and body is seen in the writing entitled The Melancholy of Time, in which we see an older man with a lost look. His body defines a small foreshortening in which we can see a body that has lost the robustness of youth and whose folds of skin on the right arm tell us of age. The face honors the title of the painting. The passage of time and the sense of melancholy it provokes is printed on the face and body. It is melancholic, a feeling that is shown in harmony with that flesh that time has aged. There is nothing else. Black background and barely distinguishable wings are relegated to irrelevance. It has to be this way because attention has to be placed on the protagonist, that man who shows a tremendous amount of flesh that is illuminated as if it were shining. In this way, Ferri manages to make us focus our attention on that skin and then on the face, understanding that they are the very definition of the melancholy of time. A red cloak is a tribute to many works of the most tenebrist Baroque. The examples of the characteristics of Ferri’s style could be many, as he is a prolific painter with an extensive catalog of paintings. Rescuing the best of the past is something we should do more often, so it is a privilege to have an artist who has escaped the Baroque and has decided to settle during the technological era. https://www.robertoferri.net/   / robertoferri_official     / italianpainter     / robertoferritalianpainter