Critique by Alessandra Negro

 

Art critics usually assess artworks by comparing them to chef-d'oeuvre by old masters, on the grounds of their experience and insight of history of art. The art critic’s analysis is therefore very often based on a comparison between the artwork and its most distinguished precedents. In doing so, the critic usually avails himself of criteria such as distribution of colour and lines, light and shade, volumes and planes. To sum up, a work of art is often assimilated to standards of beauty derived from the history of art. 

 

Nevertheless, while scrutinizing Annarita Graziano’s paintings, critics overturn their methodology. The artist actually mesmerises the beholder and gets him to sink into new worlds that arouse emotions, go beyond rationality and disclose the mysteries of the unconscious. Green boundless forests are vividly sketched in bright colours and are enlivened by dramatic, chromatic contrasts; immense Saharan deserts where we imagine mysterious caravans wandering aimlessly or to enter an imaginary oasis. Our thoughts linger pleasantly among palm trees, pools of water, dunes and impenetrable tents.

 

 

Graziano’s informal painting allows us to explore the depths of our mind and our memories. The artist projects skilfully on canvas - bold traits, harmony of lines and colour-effects that deliver urgent messages. However, such messages cannot be comprehended except through careful consideration.  If we scrutinize the paintings heedfully, we will realise that the messages they convey are not new to us: they lie deep inside us and wait to be aroused. All this explains why Graziano’s work impresses art critics so much. The artist gets the beholder to travel across worlds that are not completely unknown, as they belong to a long-standing legacy. The artist gives them new life. She unveils our fear, our anguish, our joy; ultimately, our very soul.

 

Dott. Alessandra Negro