Francesco Gallo
2003
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It is the
triumph of painting over nature and, at the same time, the
triumph of painting over itself, by demonstrating that
something new can still be said, after that a lot has already
been said.This is the worth of Malacarne: he does not
introduce himself into the circle of repetition, of “déjà
vu”, “taken for granted”, but he possesses the ability
to surprise the eye and the vision, focusing on things,
details passing unnoticed to passers-by or careless people.
These details spur the attention of the painter who is, then,
ready to reveal the invisible, to show the miracle of
simplicity.
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Enrico Longfils
(La gazzetta di Mantova, 1993) |
To
see a Claudio Malacarne's painting means to feel
a great joy and a deep emotion. Joy for the
wonderful note of colour, and emotion because hit
art is the best symbolic post impressionism of
our times ... a very refined taste searching for
chances to create real painting, fine painting.
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W. Gorni
(La gazzetta di Mantova, 1986) |
A
pictorial rhithm which follows on for obtaining
unexpected images ... a refined painting,
relaxing and full of poetry.
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R. Protti Tosi
(La cittadella, 1988) |
Shadows
don't exist for Malacarne. The light exists. With
its secrets which can be shattered in myriads of
combinations ... Indeed, it doesn't always
happen, to leave an exhibition with the heart
full of harmonies.
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A. Maravelli
(La gazzetta di Mantova, 1989) |
Malacarne
explodes in the whole luminous for colour which
doesn't exclude, on the contrary it implies a
wise, experienced pertaining to pointillisme
technique.
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A. Cagiano
(Il Resto del Carlino, 1989) |
...he
shows the strong figurative, with the exploding
and sharp chromatism based on a powerful
impressionistic tecnhnique.
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G. Trevisan
(L'Arena, 1991) |
...he
paints nature and men with a quite personal
skilled mark and chromatic liveliness.
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T. Cordani
(Mondo Padano, 1992) |
And
the white, with its bright light, illumines
everything and, insinuating itself among the
large stains of the brush, exalts the gesture of
the action and the acquisition, by now reached,
of the visible culture linked to Matisse, Festa,
Schifano.
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W. Gorni
(La Gazzetta di Mantova, 1994) |
The
palette is rich, without limits. The beginning
portrait is fresh, original, but faithful to
reality.
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A. Inciso
(La Gazzetta del Mezzogiorno, 1999) |
When
you look at this mantuan artist's works you feel
you're ravished, positively or negatively
involved. You're dragged in a whirl of feelings
and memories.
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I. De Meo
(La Nuova Basilicata, 1999) |
His
paintings ... are appreciated for their fast
rhythm, for the large and refined strokes of the
brush, for a touch of mastery in the retouching
with the spatule, but, first of all, for the
lively drawing up of colours ... The radiant
tonality ... are protagonists of MAlacarne's art.
He is appreciated and in demand not only in
national scale, but for the growing japanese
market too.
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