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Critical notes


Cultural Promotion Department in  Abruzzo Region wanted to support the creation of this catalogue as a documentation that reflects the formative stages of the contemporary artist Giovanna Grannò: evidence of a never-ending love for nature and a tireless geographical pilgrimage.

Her works are a triumph of colour and light in its infinitive variations. Emotions experienced and lyrically stopped on the canvas, between visual analysis and mood.

In this way a sudden and fleeting light effect appears, or a burst of glare on the canvas wants to convey a state of happiness. The catalogue is made up of works which reveal the fascinating representative process of the artist, who represents nature in all its extraordinary brightness.

Paolo ANTONETTI

Cultural Services Manager

 

 



 

Naturalistic painting still resist in L’Aquila; in the wake of Teofilo Patini and so on up to Amleto Cencioni; painting attested in the National Museum of Abruzzo, in the Castle, where there are exhibition of international artists and contemporary art. I wonder why this phenomenon of naturalism. I believe that Giovanna Grannò is a highly qualified person able to follow the tradition and historical contemporary meanings. Her work is characterized by strong plastic values and  chromatic flash: in my opinion, two very significant elements.

 

Remo BRINDISI

 



 

… her canvas, those that Grannò built herself, from the loom through his brushes, are always enriched by the regenerative and changing power of the natural world, from which the artist draws intense inspiration… poetry that the viewer can feel in the reproduction of poppies, from the waving field full of flower or the oscillation of beech trees and olive groves, where the movements reigns undisputed. A movement that is like the motion of the human soul.

Nunzia MASCI

 



 

 

 

…the artist manifests and translates the frantic quest for self, in the violence of pure immediate expressive colour, that was of Van Gogh and to whom she approaches so much , a piercing cry of love and inescapable desire of union with all existence… a regeneration, an Eden where everything co-exists and vibrates in the absolute joy of the spirit.

Silvio COCCIA

 



 

Colour is the protagonist of pictorial composition. Colour and graphics come together masterfully, to balance the overall picture, overlapping each other with vigorous determination, highlighting the amazing effects of chiaroscuro. The figuration is an essential component and it is also a prominent element to provide pictures and issues that conform to the intersections of well mixed plans in the atmospheric setting of the work of art. These factors, prevailing in the expression of the artist are  reason to label Giovanna Grannò work a lesson of style that survives to the easy seductions of power mode.

Giuseppe CATANIA

 



 

Sensitive and  feminine nature, the artist paints freely, without constraints of abstract concepts and theoretical principles, specific to each art activity, but pure painter, who obeys her instincts and her own natural vocation.

All over the hot summer atmosphere and the presence of a landscape where you feel restless and dissatisfied in a desperate search of new and unknown.

Sebastiano VENTRESCA

 

 


 

...the origin of her paintings is a solar-type colour sensibility, which refers its themes in the  poetic and emotional interpretation of nature with its seasons and its blooms. The artist wants to explore the meaning of nature, life-generating and intuition to the primordial unity.

This is the impulse to return to the mystery of the origin that instinctively leads to the rediscovery of the ancient symbolism of primitive graffiti. The magical signs of  horses, which are imprinted in the walls of caves, we find painted by Grannò on a corrugated paper, clear and porous to evoke the primitive power of fusion between man and nature.

In the works whose subject is the landscape, we see fields, fields that sinks to the edges of forests in autumn, forests of clear birches, red maples, twisted beeches. Depths of the woods, thinner or thicker stems, bend to simulate the contrast of past storms, and masses of foliage are painted with a dense color in shaded areas from green to deepest red  to dissolve them into vaporous mist.

Laura MORDENTI

 
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