Oil On Canvas, 25 x 35 cm, April 2022
Below the video the making of
Category Archives: painting
“November Cloud”
0Oil on Canvas, 40 x 50, November 2021
The painting step by step, below on the YouTube Video.
“Nature Series” Number 29
0Acrylic on Canvas Paper, 29,7 x 21 cm, May 2021
This is the third painting process of the Steve Somerset (Music) and Alberto Repetti (Painting)project, named:
“I Hear What You’ll See You See What I Hear”
Click on image to enlarge it and HERE to go to see the birth and the process of the painting
Nature is all that we inevitably perceive culturally as a landscape.
This series of paintings is precisely about this word, landscape, more about the very idea of reconstructing a memory of the landscape.
To represent the idea of the landscape is to represent the idea of depth and illusion of our sight.
The word evokes in itself all the cultural experience of it and requires a personal elaboration to the point of almost refusing the mere reference to the natural in order to enter the objective dimension of what defines the term, within each of us, but it is not the landscape. .
For me, landscape is the same word that we invented to define it that does not define it because it does not define, except in a vague and approximate way, a concept interior, impossible to describe.
In this regard and as a corollary of this, it is interesting to read the pamphlet by Alberto Cagnato on the origins of the landscape, which I propose for a broader personal reflection.
La natura è tutto ciò che inevitabilmente noi percepiamo culturalmente come paesaggio.Questa serie di dipinti è proprio su questa parola paesaggio più sull’idea stessa di ricostruzione di una memoria del paesaggio.Rappresentare l’idea del paesaggio è rappresentare l’idea di profondità e di illusione della nostra vista.La parola evoca in sé tutta l’esperienza culturale di esso e necessita un’elaborazione personale fino quasi a rifiutare il mero riferimento al naturale per entrare dentro la dimensione oggettiva di ciò che ne definisce il termine dentro a ciascuno di noi ma non è il paesaggio.Per me, paesaggio, è la stessa parola che abbiamo inventato per definirlo che non lo definisce perchè non definisce se non in maniera vaga e approssimativa un concetto solo interiore, impossibile da descrivere.A questo proposito e a corollario di questo è interessante leggere il pamphlet di Alberto Cagnato sulle origini del paesaggio, che vi propongo per una più ampia riflessione personale.
“ABOUT LANDSCAPE” 3D Gallery Exhibition
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Lieto di invitarvi alla mia prima esibizione online su una piattaforma in 3D.
Non è come essere in presenza, è un modo altro, che però ha il suo fascino e ho pensato che fosse interessante esplorarlo.
Vi sono Disegni a penna e dipinti ad olio su tela.
La galleria virtuale si può visitare agilmente, picchiando sullo schermo con le dita o usando le frecce in basso a destra sullo schermo.
Le opere si potranno anche raggiungere solamente picchiando con il dito al centro di esse.
Una volta davanti all’opera si potrà ingrandire e in alto a destra apparirà un’icona che porterà ad una legenda descrittiva dell’opera e un link al profilo instagram , nonchè le indicazioni per il sito e la mail.
Benvenute e Banvenuti e Buona visione
Pleased to invite you to my first online exhibition on a 3D platform.It’s not like being in presence, it’s a different way, but it has its own charm and I thought it was interesting to explore it.
There will be pen drawings and oil paintings on canvas.
The virtual gallery can be easily visited by tapping on the screen with your fingers or using the arrows at the bottom right of the screen.
The works can also be reached by simply tapping the center of them with the finger.
Once in front of the work you can zoom in and an icon will appear at the top right that will lead to a descriptive legend of the work and a link to the instagram profile, as well as the indications for the site and the email.
Welcome and Enjoy
NATURE SERIES
0Born during a live session, this series defines my understanding of the very nature of painting as documentation of the very nature of time.
Linked to the need for constriction of the live session, the construction of the images takes place in a precise temporal sequence and constitutes the work of art regardless of the number of sheets.
The whole session is a unique work and testimony of the formal act because it is documented and therefore interpretable in its expressive technical development.
“In Highest Sky”
0Main work takes place going back from dark to light, as if the sun were coming in little by little. Only in this way can one get so much white, that it is enough for describe the light that is pursued.
They are obtained in this way, waiting for the lower part to dry, more and more bright shades of white.
Acrylic on Fabriano Mixed Media Cardboard, 15 x 21 cm, March 2019
“Noreen’s Cloud”
0Oil on Canvas, 50 x 60 cm, September 2018
When I was commissioned this painting I had in my eyes the volutes of the skies of Normandy and the harrowing sensation of an event that was shaking my city, Genoa. In this cloud there are the events of those days that turn into the will to represent them, in the gestures, in the brush strokes are blurred or decided, but not to transfer the burden of a totalizing experience in the subject. Therefore, the pain or the pleasure remain inside of me and are projected outside, not in the painting, but in the medium yes, to the end, with the need to build an almost mystical practice with the object through I can represent my idea of world.
Quando mi è stato commissionato questo dipinto avevo negli occhi le volute dei cieli di Normandia e la sensazione straziante di un accadimento che stava scuotendo la mia città, Genova. In questa nuvola ci sono gli accadimenti di quei giorni che si tramutano nella volontà di rappresentarli, nei tratti del pennello siano sfumati o decisi, ma non di trasferire nel soggetto il carico di un’esperienza totalizzante. Quindi, il dolore o il piacere rimangono dentro di me e si proiettano al di fuori, non nel dipinto, ma nel medium si, fino in fondo con la necessita di costruire una pratica quasi mistica con l’oggetto.
Me and my artwork “Clocktower view from Whitehall during the restoration of Westminster Palace in August 2015”
0This portrait is important because show the peculiarity of the painting that seem out of focus but in real is very focused. It is realized with a different technique from that used by crawling the brush to get a blurred effect. Instead the effect is obtained by many small brush strokes that allow me to get a really disorienting effect for the eyes. It’s a real technical challenge that has a rendering impossible to make with a simple photograph. Click on the image.
“Entanglement. Status: Brilliant Hummocks”
0Digital Painting, Original size, 4000 x 4000 px, 300dpi, 2018, February
“Portrait of Luca Repetti, Oceanographer”
0Oil on Canvas, 30 x 40 cm, December 2017
Alberto Repetti Art 