INCLINEA - Brevigliero Battista
Pictorial technique of Brevigliero
His own personal painting technique – gained by means of acrylic colors on canvas and of precise perspective design – changes remote skylines into living moments, captured from the surrounding space. The stage-like depth of his work glides in shades toward the focal point with nuances drawn from renaissance painting. In the foreground, instead, architecture is the metre that prevails over these partly fantastic, partly real compositions, with constituent parts like loggias, oblique arches and twisted standards. Typical is the presence of human body, that seals the proportion of everything and that becomes the focus of the whole scene, where an unreal anatomy and the study of every single muscle help creating the whole beauty of creation.
Lost by Book
The history of the art is composed of a lot of pages, some are famous, others are lost or, better they have been forgotten perhaps. Assignment of every artist is to recover someone of these pages and in the case of Battista Brevigliero such operation appears rich and interesting. The lesson of the painting of the humanism with the calls to the great ones, what Botticelli, gives the no-time to his pictures, the not to be of the time as universalizing dimension. The metaphysics, easy to think about De Chirico!, tool of geometrical becomes with the abundance of arcs, ellipsis, square: the nature is a mathematical book that brings to the endless one and in fact its pictures often have a notable depth. Plant is the nine hundred surrealism great lesson that it guarantees with its symbols, the woman and the horse above everybody, that fundamental component of the art that is the fantastic one, in this case in its dimension more strongly oneiric. Finally, the lesson of the realism in Battista Brevigliero is technical baggage, that is chromatic approach able to arouse emotions and, for some aspects, provocations. The red and the blue ones tower as stains of a history, that of the art, that is individual job really because it sinks his roots in the job of the great ones of the past.
"The sides of the sphere" dear to Brevigliero
"The sides of the sphere", anomalous title of the personal show of the Battista Brevigliero of Villasanta, says already everything on the revolutionary intentions of the artist, for and in the history of the contemporary art. Says side, virtual, are the eyes of the painter that according to the dictated Meidegger it looks around him to gather the anachronistic aspects and the most unexpected matches with the surrounding world. It scrutinizes and rescrutinizes, with a good quantity of ancestral memory, the artist sets us in front of monuments or to simulacrum of classical trace, to deceptive landscapes (but real in the knowledge of Brevigliero), he represents us with inimitable formal elegance a non statuary Venus, but instead endowed with motion to say few cinema. Rather, her venere-afrodite "anadiomene" it is one it dominates, one "Mater Matuta" that it is beautifully inserted in the arcane meaning of the various romantic and pictorial situations. To completion of the beautiful series of visions and in the economy of the work, polymorphous mosaics, rich of chromatic tonality and of poetic pregnancy, they also operate to comparison of the meaning component and of the art-creation of author. Blue and green they alternate him with a substantial equilibrium, since Brevigliero gives his own mind to the sober harbor, to the spellbound skies, to what, in a word, he is created and to what it loves consciously. It is sure what, also modernly next to the way of the surrealism, it doesn't contemplate in itself the primitive initial laws of teachers what, to exemplify Magritte, Dalě, or to the precursors as Boch, Graf or the Arcimboldo, the thinker instead Pascal follows, which contrasted de to the esprit de gčometrie l'esprit de finesse. And Breton adds that "the marvelous one is only source of the eternal bond among the men" the revolution of the modern art also passes for this street, as he left writing the dad of the surrealism, for which real and virtual, past and future, life and death, end up appearing conceivable not anymore as contrary but as synonyms. More poetic than Masson or of Ernst, him parva licet with that that it follows, Brevigliero appropriates him, with rapid disguises of meanings, of I strive it artistic to create a new more truthful dimension in to unwind and in the creation of works that, they can hardly be forgotten. Not fun therefore or erotic vacation, but instead they are in to make some painter unequivocal tests of sure intelligence, of thin skill technique, of unbelievable representative fertility, together it is obvious with a prodigious sense of mystification.
Renato Tomasina.
Last paintings
[Sec. Gallery1]
Last sculptures
[Sec. Sculpture]
Last designs
[Sec. Design]
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