LAURA FERRETTI PAINTING I   have   the   privilege   and   the   pleasure   to   have   been   following   the   artistic   work   of   Laura   Ferretti   for   a   long   time,   to   assist   in   her progressive   stylistic   maturation   and   to   remain   enmeshed   in   her   bold   recognitions   entrusted,   largely,   to   the   difficult   rigidity   of   the spatula,   a   technique   that   requires   a   steady   hand   together   with   a   mastery   of   the   scenic   perspective.   But,   beyond   her   artistic   and methodological   results,   the   relationship   of   woman-artist   is   striking.   I   want   to   say   that   the   wealth   of   Ferretti's   personality,   her availability   of   human   and   Christian   stamp,   her   reservedness   reduced   by   an   encouraging   smile   are   the   keys   to   read   her   recurrent pictorial   message   sharpened   in   years   of   study,   work   and   passion.   She   doesn't   run   after   ephemeral   and   transitory   fashions,   nor become   a   simple   imitator   of   the   great   inheritance   of   the Tuscan   school,   however   known   and   appreciated   by   her.   She   paints   with   the intent   of   answering   to   an   internal   demand,   with   the   unavoidable   need   to   use   her   artistic   vocation   like   an   interpretative   instrument, rich   in   tone   and   not   limited   to   the   simple   things.   She   wants   to   look   into   the   many   questions   and   mysteries   that   are   behind   and   inside the   complex   destiny   of   man.   A   poetic   view   of   life   worded   by   figures   and   landscapes.   They   tell   the   variform   course   of   the   human soul.   Her   poetic   language   was   appreciated   very   much   by   the   poet   Mario   Luzi   who   visited,   more   than   once,   the   exhibitions   of      Laura Ferretti. All   this   remains   in   the   back-ground;   in   the   foreground   there   are   her   paintings,   full   of   light   and   colors.   The   pictures   represent,   at   first, her   beloved   Maremma,   a   bitter   and   wild   land,   with   immense   green   and   gilded   lowlands,   refined   by   clumps   of   glowing   flowers   in   the scenery   of   skies   rippled   now   with   evening   shadows,   now   with   dazzling   sunshine,   cosmogonic   mirror   of   unending   seasons   becoming what   has   been   repeating   itself   for   millennia.   The   accent   of   the   artist   has   sometimes   a   crepuscular   tonality,   it   moves   between nostalgia   and   evocation,   as   if   her   love   for   the   flowers,   for   the   sun,   for   the   light   and   the   colors   might   become   a   mute   but   meaningful recovery   of   nature,   of   the   landscapes,   of   the   rows   of   cypresses.   As   if   immersed   in   the   depth   of   the   sea,   in   the   mysterious   depths where   the   contrast   rises,   between   ancient   treasures   buried   for   centuries   and   the   germination   of   an   iridescent   sea-life.   Like   the secret depths of our hearts: rich, ever-changing, wandering, wonderful. The   itinerary   ends,   conclusively,   at   sacred   paintings.   At   first   an   altarpiece,   "The   Assumption   of   Our   Lady",   in   the   sixteenth-century Sanctuary   "Our   Lady   of   Charity"   in   Seggiano,   representing   the Assumption   of   the   Virgin:   a   touching   hymn   to   maternity,   freed   by   the traditional   canons   and   updated   through   the   bright   expression   of   the   faces   (that   of   Our   Lady   recalls   the   lesson   of   Benozzo   Gozzoli). The   initial   and   transitory   bewilderment,   connected   to   the   tragic   human   and   earthly   parable,   is   transfigured,   heightened   by   an epiphany of light and hope that defeats the darkness and projects itself toward the infinity of the skies. And   then   "The   Nativity"   that   is   a   work   classic   and   modern   at   the   same   time.   In   this   painting   the   Holy   Child   and   His   Mother   smile under an unusual sky full of lights: a sweet, magic and timeless atmosphere . Far-away   but   gripping   the   Jesus   of   the   Holy   Shroud   looks   right   into   us.   And   we   understand   His   boundless   love.   The   title   of   this picture is "Thinking about the Holy Shroud". Recently   two   paintings   show   us   two   opposite   ways,   two   opposite   moments   of   Christian   life.   "Love's   flowing   around"   tells   the   Mother and   the   Child   in   any   day   at   Nazareth.   Everything   is   quiet,   simple,   maybe   too   common. As   our   faith   is   in   everyday   life.   "Our   Lady   at the   foot   of   the   Cross"   is   quite   different.   In   this   picture   everything   is   dramatic   but   two   elements   catch   our   eyes:   Our   Lady's   eyes   and Her hands. You can just stay in front of Her. Without words. Very   interesting   are   the   portraits   of   Holy   Faces,   finely   painted   with   brush,   serene   in   their   classic   atmosphere,   but   set   in   the   clotted spatula thickness that gives them the air of modern Greek icons.
Laura Ferretti  painter