Alberto Repetti Artist

Artworks of Alberto Repetti's Artist, Oil Painting, Ballpoint Pen Drawing and more

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Be Our Audience

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The vision of an artistic object on the part of the person who performs it sometimes involves a loss of attention on its formal construction. Losses of attention, sometimes due to excessive emotional involvement, sometimes hide any problems with the overall structure of the work.
In this regard I have to give two tips as old as the world.
The first, and most obvious, is to hide the work and look after it at least three days later, better if these three days may have been occupied by on another artwork, and the second that is to observe, the next day, the work that we are doing in the mirror.
The return of the specular image allows us to immediately have an estrangement about the artwork, giving us the opportunity to verify its compositional structure and its balance, both in terms of colors and shapes. We need to become, for a moment, necessarily our audience.

La visione di un oggetto artistico da parte della persona che lo esegue a volte comporta una perdita di attenzione sulla sua costruzione formale. Perdite di attenzione, a volte a causa di un eccessivo coinvolgimento emotivo, o a volte perchè  nascondono eventuali problemi con la struttura complessiva del lavoro.
A questo proposito, devo dare due consigli vecchi come il mondo.
Il primo, e il più ovvio, è nascondere il lavoro e occuparsene almeno tre giorni dopo, meglio se questi tre giorni potrebbero essere stati occupati da un’altra opera d’arte, e il secondo è quello di osservare, il giorno successivo, il lavoro che stiamo facendo allo specchio.
Il ritorno dell’immagine speculare ci consente di avere immediatamente un allontanamento sull’opera, dandoci l’opportunità di verificare la sua struttura compositiva e il suo equilibrio, sia in termini di colori che di forme. Dobbiamo diventare, per un momento, necessariamente il nostro pubblico.

The larger the size, the greater the distance

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In this case the dimensions of the work will become part of the judgment?The artwork of art has different dimensions, but the stare maintains the same proportional relationship with it. The larger the size, the greater the distance.

That is to say, therefore, that from a proportional point of view there are no differences in dimensions but it is only a question of proximity or distance of the gaze.

If it is bigger, I have to move away, and if it is smaller, I have to approach it, but the look at it keeps the same portion of space for it unchanged.

Another thing is the decorative destination of the artwork. In this case the dimensions of the work will become part of the judgment?

So the perception we have of it is influenced by the use made of it, regardless of the pure value of the work of art? Does the work of art have an absolute value or is it determined by the use made of it?

The Shaman

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Style, in the contemporary age has become not the element that defines the identity of the painter or draftsman, but an obligation, not a natural disposition that determines, through careful analysis of the technique, the hand of the artificer , but a repetitive practice, a long theory of similar or even identical paintings, in summary the serial reproduction, however original, of the product.
This, fortunately, there are any exceptions, is the current cultural proposal, which does not allow the artist to show the shamanic qualities he had laboriously conquered.

A. R.

Consideration of Art and Talent

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A consideration regarding talent and the application of talent. Drawing and painting allow, through the use of materials easily available to everyone, a possibility, which is their use. They are precisely instruments, whose action is determined by the will, but if the will goes beyond the technical capacity of those who use them, the result will be partial and mediocre. Talent is therefore subordinated to the right balance that exists between the idea and the product. The misunderstanding arises when the viewer has no discernment in observing the technical process and judges only based on the result. This judgment is allowed because there is a total disconnect between the idea and the quality of the result, and an overall trivialization of capacity in favor of the result, whatever it is, in defense of the unshakable myth of subjectivity. At the conclusion of this brief reflection we can say that the phenomenon is completely new, in considering art whatever is produced with painting or drawing and in considering this necessity as the daughter of talent alone, who, once recognized, can do without of any teaching up to completely eliminate the judgment of self-criticism. It is the new modern avant-garde.

Una considerazione per quanto riguarda il talento e l’applicazione del talento. Il disegno e la pittura consentono, attraverso l’uso di materiali facilmente accessibili a tutti, una possibilità, che è il loro uso. Sono precisamente strumenti, la cui azione è determinata dalla volontà, ma se la volontà va oltre la capacità tecnica di coloro che li usano, il risultato sarà parziale e mediocre. Il talento è quindi subordinato al giusto equilibrio che esiste tra l’idea e il prodotto. Il malinteso sorge quando lo spettatore non ha discernimento nell’osservare il processo tecnico e giudica solo in base al risultato. Questo giudizio è permesso perché esiste una totale disconnessione tra l’idea e la qualità del risultato e una generale banalizzazione della capacità a favore del risultato, qualunque esso sia, a difesa del mito irremovibile della soggettività. Alla conclusione di questa breve riflessione possiamo dire che il fenomeno è completamente nuovo, nel considerare l’arte qualunque cosa sia prodotta con la pittura o il disegno e nel considerare questa necessità come figlia del solo talento, che, una volta riconosciuto, può fare a meno di qualsiasi insegnamento fino a eliminare completamente il giudizio di autocritica. È la nuova avanguardia moderna.

Three Pink Spots

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The search for levity is very difficult but it is a practice to be preserved. It is a bad thing to use the terms from one artistic practice to another but the timbre and musicality are what comes closest to the awareness unawareness of the painting.

Oil and Acryilic Painting on a Photo Print 25 x 20,7 cm, 2019 April

MX052 Three Pink Spots

The Bet’s video, birth and development of a bet.

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In this video with some images in a timeline, I show the development that led to the painting.
The work satisfied me both for its construction, and how the various parts i have painted. This picture shows a robin in flight, a walking cat and a woman talking on the phone. Of these three creatures, the only one that we know where it will go is the cat, because it will goes to the woman. The background participates in a fundamental way, creating a livable, accessible space where the three characters can act. But what will happen once the cat will reach the woman? Time is crystallized into an eternal bet. The bet that is the invention of painting where everything is determined by the passage of the time, and the flow of the time has allowed at the painting to take shape. The brushstroke, every single brushstroke, allows a formal reading. We can see his develope, we can see passage of the time and how be can represented it. Through the excuse of the three characters story, the colors are laid on the canvas with the brushstrokes, one after the other, and represent the true work of art, that is, the time spend to paint it, . Painting is painting and it is also the artist, because within it is enclosed its time.

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