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 Luigi
Granetto
Miart
2008: personale
di Luigi Granetto nello stand di Grossetti Arte ContemporaneaFacies
2007
Opere
2007: Re
e Regina
età del ferro, "Viaggio",
Paesaggio
Opere
2006: Equilibrio
spezzato, Cornice
spezzata in blu, Cornice
spezzata in
rosso, Spaccatura
in nero, Borsa
spezzata 1, Borsa
spezzata 2
"Campi"
, "Prima
della fine", "Alarico"
per la mostra "Ausstellung
"Künstler für das Fellbach-Haus"
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Per informazioni, immagini delle opere descritte e stime
staff@gnomiz.it
Tel
039-2308116 Luigi Granetto (Granetto
artista) Via Vittorio Emanuele II, 42-44/ 20052 Monza Per comprare eBay
  Lucrèce, 1983
Huile sur toile
200 x 245 cm
Acquisition 1987
Photo P. Goetelen
Gérard Garouste Né en 1946
à Paris (France). Vit à Paris et à Marcilly-sur-Eure.
Gérard Garouste a entrepris depuis près de vingt-cinq
ans de renouveler le genre de la " peinture d'histoire ". Se mesurant aux formes qui, depuis
Raphaël, parcourent l'histoire de la grande peinture,
mais sans jamais s'abandonner à ses expressions d'un
autre temps, il parvient à s'exiler de ce passé et à
justifier sa peinture en termes résolument modernes. Les
premières " peintures d'histoire " que
Garouste réalise dans les années 70 s'inscrivent encore
dans les conventions de la grande peinture à sujet :
interprétations contemporaines d'un art tourné vers le passé, retour à des modes de représentation
classique,
mémoire de l'histoire, choix iconographiques ainsi que
ferveur onirique de ses toiles imposent très vite
l'artiste comme un modèle aux yeux des jeunes peintres
de cette époque. Dans les années 80, la manière de ses
premières toiles, avec les citations délibérées qui
la nourrissent, laisse place à une entreprise picturale
d'un nouveau genre dans laquelle on compte les Indiennes.
Ces peintures, dont la Fondation Cartier possède un
remarquable exemple (Indienne, 1988) – et auxquelles
elle consacre une exposition à Jouy-en-Josas en 1988 et
un livre d'artiste intitulé Les Palais de de la mémoire, avant de les montrer à Santa Monica et à
Tokyo en 1990 –, tirent leur appellation des toiles
que l'on peignait autrefois avec des couleurs importées
par la Compagnie des Indes. La source de cette
inspiration est un rêve où l'artiste voit " des
Indiens évoluer librement au milieu de tableaux
classiques ". Garouste en fait d'abord un spectacle
alliant théâtre à l'italienne et performances, puis
des peintures de grande dimension. Ces toiles
développent toutes les thèmes essentiels de l'indianité tout en renvoyant à
l'architecture ou aux
décors de théâtre. Elles épousent leur environnement
et s'approprient l'espace avec une force décorative
considérable dont témoignent les décorations privées
et publiques entreprises par l'artiste dès cette
époque. ......Fondation Cartier
Gérard Garouste Born in 1946
in Paris (France). Lives in Paris and in Marcilly-sur-Eure. It is almost twenty-five years now
since Gérard Garouste first set out to revive the genre
of "history painting". Measuring himself
against forms that have been part of the major tradition
of painting from Raphael on, while taking care not to
succumb to the renderings of a different era, he has
succeeded in cutting his ties with the past and
justifying his work in resolutely modern terms.
Garouste’s first "history paintings" date
from the 1970s and still respect the conventions of
thematic painting in the grand manner. His modern
interpretations of works centered on the past, his return
to classical modes of representation and the historical memory, his iconographic choices and the dream-like
fervour of his paintings soon singled him out as a model
for young painters of the time. In the 1980s, the style
of his early canvases, deliberately charged with allusions, gave way to a new genre of pictorial
adventure, among which featured his Indiennes. These paintings, of which the Cartier Foundation owns a
remarkable example (Indienne, 1988), are named after the
fabrics painted with colours imported by the East India
Company and were presented, along with an artist’s book,Les Palais de la
mémoire, at an exhibition
organized by the Cartier Foundation at Jouy-en-Josas in
1988, which then went on to Santa Monica and Tokyo in
1990. The original source of inspiration was a dream in
which the artist saw "Indians moving around freely
in the midst of classical paintings". Garouste first
of all turned this into a show that combined Italian
stage-design and performance art, then into large-format paintings. The paintings develop all the main themes of
"Indianness", while at the same time alluding
to architecture or stage sets. Their capacity to merge
with the environment and appropriate the surrounding
space has considerable decorative force, as can be seen
from private and public decorations the artist has since
carried out. Since 1983, Garouste has also been working
on a series of paintings based on canonical texts of
literature (Dante), mythology (Orion and Celadon) and
Christianity (the Bible, Saint Theresa d’Avila). In
the the artist’s own words, he uses "painting
through elements of mythology, religion or, again, of
Dante’s text, to get as close as possible to a
centre that’s impossible to define". The scenes
depicted in these paintings are particularly intense.
Some are swamped with references and allusions; others,
freer and more elliptical, have the mobility and
intensity of dreams. In an elegant spectrum of grey, purple, green and black, strange figures with
spindly,
deliberately archaic outlines emerge (Sans Titre,
1986–87)......Fondation Cartier
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Olivotto, Lucio
Fanti, Giorgio
Giusti, Romano
Parmeggiani, Ivan
Rabuzin, Lothar
Fisher, Claudio
Verna, Stefanoni
Tino, Valeriano
Trubbiani
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