Download PDF by Giuliano Serafini: Burri (Art dossier Giunti)

By Giuliano Serafini

Alberto Burri used to be born in Città di Castello, in Umbria in 1915. He earned a clinical measure from the college of Perugia focusing on tropical drugs. On 12 October 1940, days after Italy entered international struggle II, Burri was once known as up as a medic and despatched to Libya in March 1943. On eight may possibly 1944 after the defeat of the Axis forces, his unit used to be captured in Tunisia, he was once interned in Camp Howze prisoner-of-war camp in Gainesville, Texas, the place he started to paint. His first work have been perspectives of the barren region he may see from the legal camp and nonetheless life's with paints and canvases provided by means of the YMCA. He essentially painted "nostalgic Umbrian landscapes and figures", as Milton Gendel defined in an ArtNews factor released in 1954. He accumulated previous burlap sacks and taken them with him upon his go back to Italy and persevered to take advantage of them instead of canvas. He persisted to exploit burlap, having a provide from the neighborhood miller.


La Pittura
La Materia
Il Teatro, los angeles Scultura, L'ambiente
I Ritorni del Tempo
Quadro Cronologico

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How do you want to put your paint on? Are you going to use a broken color rendering, or strong fluid brushwork, or something else? Do you intend a thickly painted rendering or thin? Where are you going to shovel the paint on, and where do you want to keep it thin? ) 8. Where are the strong simple areas, and where do you have to be especially careful? 9. Are there any drawing problems? Is there foreshortening to contend with? Are there perspective distortions, or areas of ambiguity or confusion?

Zorn and Sargent were notably fussy about how they put the paint on, and delighted in cocky flourishes-so much so that their dexterity is often the first thing noticed. However, they did it with such consummate skill that we delight in their bravado. Painters like Serov, Henri, and Twachtman simply didn't care about surface technique, and (to me) their work is somewhat stronger for that. The whole point of Direct painting is to depict faithfully what is seen, not to demonstrate cleverness with a brush or knife.

For one reason or another, it occasionally doesn't work out exactly that way, but at least that's what I shoot for, and the results in most cases fall reasonably within my hopes. Errors happen, of course. In my case, mainly from working too fast-trying to get too much on my canvas all at once. That causes carelessness in measuring for the drawing-making the little shapes of color the wrong shape. Usually I mess up when I'm trying to show off, so I have no good excuse (only the consequences of cockiness).

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