Antonio Carlo Ponti
The silence, the universal language
The visual art since the beginning of the twentieth century, has undergone a major break in his manner of presentation. The partial disappearance of figuration, the advent of abstract art and the informal - until the computer-art - did not prevent messages and emotions that would reach the observer. Anna Maria Artegiani, reclaiming the figurative language - according to the story of the great religions that have used art to spread their origins - after having lived in an age that saw the chapter figuration, back to being a pioneer of this language with a painting of religious coinage, in which prevails is the symbolic meaning of a ritual dictated by rules of faith. His works are not meant to provide comprehensive knowledge or a deliberate feature of proselytizing, but include, intrinsically, a fresh approach and a further message of values.
In the execution of works, the artist pays attention to the representation of the characters in the poses and attitudes that manifest a religious composure as to give life to the moment of silence as high mystical meditation and concentration. A silence that is not just the absence of noise, but listening intimate and private thoughts that emerge from it, and encouragement to become a universal language and unifying with absolute values.
The artist, without forcing the meaning of the image and a color scheme of muted colors, drag the viewer into the work up to identify it in the representation. Despite the richness of detail and without succumbing to the temptations of a genre painting, avoids any mannerism sliced to dwell on elements of truth. In addition, in fact, represent the great religions and philosophies - it is this aspect particularly relevant - the works do not envisage any religious syncretism, but impose themselves as ecumenical message for a peaceful tolerance. In this we have an antecedent in Perugia philosopher Aldo Capitini, one of the major prophets who called for a humanity free from religious dogmas and sectarianism. Artist umbra, the Artegiani, as tradition dictates that every artist is a child of their own land, could not be affected by the presence in his poetry of St. Francis and St. Clare, which inspire and witnesses of his art-making, and put at the center of monasticism, of simplicity, sobriety, as well as of "wealth" of values identified in the silence, where he was to speak and communicate nature.
Artegiani does well to lead with his art: in fact, an artist should not ever be less than that bit of visionary "utopia" to shake the observer, that sometimes flattens, assimilating into this world noisy and restless. Ben are an increasing number of these messages.
Art is not, and never will be, just a manifestation of phenomenology, but to be with man, and man, noble-generating messages.