THE ETRUSCANS AND THEIR WORLD IN THE PAINTING BY LAURA FERRETTI The   travelling   exhibition   by   Laura   Ferretti   "Deep   roots:   the   Etruscans   and   their   world",   articulated   in   various   narrative   ways,   proceeds along   iconological   and   iconographic   criteria   of   analysis   and   interpretation,   taking   into   consideration   the   relationship   between   history and painting and between painting and creativeness (the cycle: "… And my journey is going on..."). The   images   in   comparison,   clear   and   energetic,   are   structured   in   shots   (by   others   studied   in   way   of   spiral   and   aural   section organizations), fixed shots on one side and in movement on the other, at common denominator. The   today's   observer,   in   front   of   images   of   the   past   (the   Etruscan   civilization   appeared   in   Central   Italy   during   the   VIII   century   B.C.), looks   at   them   according   to   a   direction   and   an   intensity   applied   to   the   expression   and   the   symbols   of   synthetic   and   speedy   intuition, because he is inured to cinema and television. It   is   possible   to   understand,   this   way,   the   composition   of   these   pictures,   the   flowing   of   attitudes   and   successions,   the   coincidences space-temporal, the rhythmical scansions, caused by the urgency of the recalled contents. Having   borrowed   the   Etruscan   thematic   results,   by   means   of   colours,   line,   contour   lines   and   of   the   wrapping   light,   produce   a   vision   of mystery, even if it is concrete, that confirms the legitimacy of the term "realistic", coined the first time for the Etruscan art. The   realism   of   these   compositions   is   precisely   in   the   intensification   of   the   colours,   independent   of   the   truth,   and   in   the   mimic accentuation of the figures relieved on the background, from contour lines and marked gestures. The   constructive   lines   countersign   the   plastic   form   in   the   distinction   of   lively   notations:   "The   mysterious   smile   of   Aplu",   "Man   with   a peculiar hat". The   cheerful   colours   retain   the   purity   of   the   gems   and   the   mineral   that   they   include:   the   azure   of   the   lapis-lazuli,   the   red   of   the   iron oxide, the black of the coal... (Ornamental plants and birds, 1 and 2). The   dryness   of   the   forms,   translated   in   their   essentiality,   recalls   the   expressionistic   language:"Maids   plating   garlands",   "Velia   in   front of the eternity", "Banqueting together". Geometric   and   decorative   ornaments   stylize   the   real   elements   that   scan   the   space   without   imaginary   escapes:   "Land   animals", "Aquatic and flying animals", "Dancing couple", "Hunting and fishing". The   peculiarities   of   this   painting,   prevalently   sepulchral,   that   used   to   exclude   the   sublime   and   the   supernatural   ("Maiden",   "Night shadow")   are   perfectly   respected,   thanks   to   the   narrative   field   where   the   dragging   dimension   is   not   the   space,   but   the   time   of   the story, in the quotation. Free   play   is   given   to   the   environment   vitality,   clearly   expressed   by   the   chromatic   rhythm   of   the   landscapes   of   "…And   my   journey   is going   on…",   that   is   disciplined   with   strokes   of   palette-knife,   tight   and   effective,   cursive   to   define   the   nature   imbued   with   the anthropological   roots   of   the   territory.   In   general,   the   springs   of   the   colours   recall   the   musicality   of   the   sepulchral   colourings   and   the reference doesn't mean the mere updated reflection of the past, but an enlarged horizon, like as cultural reserve from which to draw. The   incipit   is   committed   to   the   "Etruscan   trading   vessel".   The   various   passages,   from   "Iris   and   yellow   field"   to   "Tuscan   hills:   Spring", from   "Last   leaves"   to   "Moon   light",   up   to   "Sun   rising"   and   "The   sky   is   turning   red"   -to   mention-   they   make   the   visual   moment   realized and fixed, reporting their forms and aspects, no more in the magic-religious conception, but in form of cultural memory. The line of contour has left its place to strokes of palette-knife with almost gestural tackings of reflection of contemporaneity. The   most   ancient   roots   and   the   natural   breath   of   the   earth   live   together   as   discoveries   and,   if   we   want,   as   entities   and   values   of   the feeling   and   the   mutual   understanding   of   the   man   conscious   of   belonging   to   two   civilizations,   even   if   circumscribed   to   the   level   of linguistic recall. In   the   two   cycles,   her   ability   to   translate   and   elaborate   the   scansions   of   the   visual   action,   under   the   narrative   and   compositive   aspect and   from   the   point   of   view   of   the   formal   balances   and   the   harmony,   ends   in   the   renewall   of   the   reported   aspect:   the   energy   of   the nature calms down in the structural energy of the art. Everything   must   be   read   through   the   evidence   of   progressive   phases   and   the   recall   to   the   metaphor   points   out   an   address   and   a conception   typical   of   a   way   of   painting,   that,   in   the   specific   case,   becomes   interlacement   of   histories   and   memories,   hooked   to   the lived and restored through the entire vision of the pictorial imago. The   artist   has   reached   an   expressive   style   lined   up   to   the   creative   exigences,   in   the   definite   autonomy   of   an   individual   journey,   in   the continuity of her artistic work.
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Laura Ferretti  painter