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Barbara Ghisi - Artist - Works

Barbara Ghisi - Artist - Works


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"Corallia", Barbara Ghisi exhibits in Capoliveri

At the center of the exhibition are the sea depths in the crystallized and luminescent paintings of the Mantuan artist. The exhibition will be held in the Art Space

CAPOLIVERI - The Mantuan artist from Poggio Rusco, Barbara Ghisi Graduated from the Academy of Fine Arts in Bologna in 1993, she is a painter, sculptress, critic and organizer of art events. He chooses a perfect setting for his personal painting: the Art Space in the Borgo degli Artisti near the Museum of the Sea in Capoliveri, because his paintings praise the love for marine nature.

With the emotional power of the colors of the abyss and its fragile transparencies, the artist shows off his style with a succession of ideas and creativity. In his works, reality and imagination intertwine creating touching and powerful compositions.

The choice of representing seabeds or underwater worlds is emblematic. "Corallia " is the title of the exhibition that opens Friday 7 August from 6 pm. The sea in its different rainbows and its fascinating mysteries between depths and underwater bioluminescences. In addition to the depiction made with oil colors and mortars on canvas, the artist relies on special techniques that bring out the works in the dark through fluorescent powders. And ... final twist submerges the surface of the paintings with resin, creating the wet and sparkling effect of water.

The exhibition will be open every day from 10 to 12 and from 18 to 23.30 until Thursday 13 August inclusive.


On display the seabed by Barbara Ghisi

The Mantuan artist has chosen the island of Elba to exhibit his works dedicated to the sea. The exhibition will be held in Capoliveri from 1st to 7th September

CAPOLIVERI - The Mantuan artist from Poggio Rusco, Barbara Ghisi, is a dynamic expression of painting, sculpture, and installations. Graduated from the Academy of Fine Arts in Bologna in 1993, she is now also an event organizer and art critic. He chooses a non-random scenography for his personal painting: lo Art space in the Borgo degli Artisti adjacent to the Sea Museum of Capoliveri. As it happens on the island of Elba.

And why? Because his paintings praise the love for the sea, with its emotional power and its fragile transparencies. And between realism and abstraction, the artist shows off his style, with a succession of ideas and creativity.

In his works, reality and imagination are intertwined, creating touching and powerful compositions of the soul. The choice of representing seabeds or underwater worlds is emblematic. What is there to admire? "Aqua Lumen". The sea in its different rainbows and its fascinating mysteries between depths and underwater bioluminescences. The artist, in addition to the depiction made with oil colors and mortars on canvas, relies on special techniques that bring out the works in the dark through fluorescent powders.

The exhibition will be inaugurated Sunday 1st September from 6.30 pm. The exhibition will be open every day from 10 to 12 and from 18 to 23.30 until Saturday 7 September inclusive.


GHISI, Giorgio

GHISI, George. - He was born in Mantua in 1520, from Ludovico, a merchant originally from Parma (D'Arco, 1857, p. 268).

Although there is no information on the formation of G., it is certain that it took place under the influence of Giulio Romano, in the city since 1524 in the service of Federico II Gonzaga. The first engravings attributed to him, for stylistic reasons and for the recurrence of his monogram in large letters, all derive from Giulio's models and can be dated around 1540: theAllegory of the disease from the analogous subject in the loggia of the Grotta in Palazzo Te il Tarquinio and Lucrezia from the ceiling of the Falconi dressing room in the Doge's Palace the Silenus asleep from a drawing by Giulio again for the loggia of the Grotto, preserved in the Louvre, where there is also another one that was used for one of the tapestries with the Life of Scipio the African made for Francesco I, and which was used by G. for the Procession of prisoners there Death of Procris, again from a drawing by Giulio, in counterpart and with some variations, today at the Städelsches Kunstinstitut in Frankfurt.

However, it was not Giulio Romano who taught G. the art of burin: the only one in Mantua able to do so was Giovanni Battista Scultori, Giulio's collaborator at Palazzo Te, who produced prints for a very limited period. of his activity - from 1536 to 1543 - coinciding with the formative years of Ghisi. The two plates Sinone and the Trojans is The Greeks enter Troy, engraved by G. still in the early 1940s, derive from drawings by Scultori (The engravings, pp. 51 s.). The same years date back toAllegory of the fertilization of the earth, perhaps by F. Primaticcio and his first dated engraving, dated 1543, Woman in a boat with a man and a child, deduced from a drawing kept at the Musée des beaux-arts in Dijon with the dubious attribution to Giulio Romano (Bellini, 1986, p. 46).

Perhaps following the death of Giulio Romano, around 1546 the G. moved to Rome: his temporary companion was the fellow citizen Giovan Battista Bertani. To Antonio Lafreri, in the city since 1544, G. had to present some of the plates engraved in Mantua: the Death of Procris and the branches taken from Scultori, where for the first time the G., not known in Rome, dissolved the monogram and signed himself with the nickname "Mantuanus". Perhaps recommended by Lafreri himself, around 1550 G. engraved works by Roman artists in great demand from the market: the Visitation by Francesco Salviati of the oratory of S. Giovanni Decollato Gaius Mario in prison by Polidoro da Caravaggio Venus in the forge of Vulcan is Venus and Vulcan on the bed by Perin del Vaga i Prophets and the Sibyls of Michelangelo's Sistine Chapel, from which six branches were taken that the artist created perhaps during this Roman period, even if the possibility of their execution even a few decades later is not excluded (Bellini, pp. 71 ff.).

In the lively Roman artistic climate, G. had the opportunity to enrich his training and, at the same time, to forge some relationships including that with the publisher Hieronymus Cock. G. started an intense collaboration with him which, around 1550, brought him to Antwerp, where Cock published under the banner "Aux quatre vents", to remain there for about five years. In 1551 "Joorgen Mantewaen" was enrolled in the guild of S. Luca.

During the years he spent in Antwerp his production was enriched with a taste for detail that will be found in later works. He made a group of burins, all published by Cock, and derived from the masters of the Italian manner, except for theLast Supper, from Lambert Lombard, from 1551, dedicated to Antoine Perrenot, governor of the Netherlands. G. drew his subjects from Raphael, of whom he engraved in 1550 ThereAthens school and in 1552 The dispute of the Sacrament but also by Agnolo di Cosimo, known as Bronzino, with the Nativity of 1553, derived from the painting for Filippo d'Averardo Salviati today in Budapest and from Bertani, from whom he drew the Judgment of Paris from 1555, which, with the variations made with respect to the design of the Malaspina collection of the Civic Museum of Pavia, became an allegory of the transience of beauty.

This period spent in Flanders corresponded not only to the development by G. of a refined technique, but also to a moment in which from a purely reproductive system of his models he passed to a translation of them, through appropriate modifications that came to alter its appearance and meaning. This is what happened, for example, to the Athens school which, thanks to the insertion of an inscription, became Paul's sermon in the Areopagus. Certainly important for the spread of mannerism of Roman ancestry in Flanders, the production of G. of these years shows great attention to the rendering of the landscape as an element that in the graphic translation acquires autonomy with respect to the model. In this way, on the one hand, it was in line with a certain Lombard taste for "Nordic" landscape backgrounds, and on the other, with a strong landscaping propensity of contemporary French engraving, fueled, for example, by the same series of landscapes which came out of Cock's workshop between 1551 and 1562 and derived in part from subjects by Pieter Bruegel the Elder and Lucas Gassel. Thus, it was natural for G. to place in the background of Nativity of 1553 a Gothic city with turreted walls, referable to a model of the school of Gassel and, in the crowded Judgment of Paris of 1555, to add to the horizon a coastal city with Nordic features, which is found in numerous Flemish examples (Salsi, 1991, p. 4).

According to sources, G. was also active in the agemina: from 1554 it is a shield kept at the British Museum in London while later, from 1570, it should be the sword, signed, of the Museum of Fine Arts in Budapest.

Perhaps the G. left suddenly from Antwerp. There Vision of Ezekiel taken from a drawing by Bertani and dated 1554 on the plate, it was not printed by Cock, but in Rome by Lafreri. However, it is difficult to say where he moved. It is plausible that, once he left Antwerp, his destination was France: the engravings datable to this time were published with royal privilege, and the subjects were often drawn from works by Italian artists active in Fontainebleau or Paris. Immediately following his stay in Flanders is the copper with the Mystical marriage of St. Catherine: here, a still Nordic river landscape forms the background to the scene, founded on a model by Francesco Primaticcio, perhaps mediated by Luca Penni. Collaborator of Perin del Vaga in Genoa, between 1537 and 1540 Penni then went to Fontainebleau and contributed to the dissemination of the works created for Francesco I. Even G. used his inventions, especially in this period. In fact, two burins taken from models by Penni date back to 1556, as stated in the branches: Venus stings from a thorn and the Hunter with nymph on his shoulders, also known as Orion, perhaps an allegory of hunting. The same year is the Portrait of François Duaren, commissioned for the title page ofOpera omnia of the French jurist published in Lyon two years later while they are from 1558 The three Fates from an idea of ​​Giulio Romano, and theHercules and the Hydra from Bertani's drawing for the engraving intended to open his volume, The obscure and difficult passages of the Ionian work of Vitruvius, dedicated to Ercole Gonzaga, whose coat of arms appears at the top center.

Only recently have some prints by G. been found, which can be placed in this period, and representing noble emblems: by Lucrezia Gonzaga, daughter of Pirro, lord of Bozzolo (The engravings, pp. 142 s.) By Innocenzo Gallo and Curzio Gonzaga, with a remarkable landscape passage beyond the balustrade that frames the sheet (Bellini, 1998, pp. 162-164)

Still from the late 1950s is the engraving by another Mantuan subject, theAllegory on the fate of human life, also known as The birth of Mennone, deals with some variants - significant that of the cradle which in the print becomes a work of goldsmiths - from a drawing by Giulio Romano for the loggia of the Grotta al Te. The Woman with ball, or Victory.

Although perhaps it had a long gestation, from 1561 it is the burin known as Dream of Raphael, more precisely a 'Allegory of human life, certainly his masterpiece.

The work summarizes in a paradigmatic way the path of G. and the components of his engraving art: the influence of Raphael in the figure of man (one of the philosophers of Athens school) the classical origin, perhaps mediated by a Raphaelesque school drawing, of the woman on the right the Nordic landscape in the background, with details so similar to an engraving already published by Cock based on a drawing by M. van Heemskerck, but also to the landscapes of Furthermore, Gassel, iconography and content show an artist capable of moving with ease on the terrain of allegorical composition, drawing on classical and hagiographic sources with moralizing implications that contribute to building the meaning of the image: an allegory of the life of man and his difficult path to salvation, possible only thanks to the help of virtue that will allow him to get out of the forest full of pitfalls. This reading confirms the votive character of the print, "animi gratia", made by G. to the satisfaction of a client, a certain Filippo Dati.

G. completed this elaborate composition perhaps based on drawings by Penni, whose works continued to constitute a source for his work. Witness theApollo on Parnassus, from a drawing passed at a Sotheby's auction in 1987 and the Slander from 1560. The years of his stay in France, and more precisely at the beginning of the seventh decade, are also responsible for the creation of two series of engravings with Divinity of Olympus, taken from the destroyed Ulysses gallery decorated by Primaticcio in Fontainebleau. It is certain that in December 1562 he was still in Paris, from where he wrote a letter, but two years later he was again, and definitively, in Mantua (Bellini, 1979, p. 123 1998, p. 18).

A period characterized by a strong propensity to elaborate complex allegorical-moralizing themes was followed by one in which G. engaged in works of great technical mastery, but which returned to being merely reproductive. Such were the ten tables taken from Universal judgment della Sistina, performed, perhaps together with the Portrait of Michelangelo, around the mid-sixties, and to be placed in all probability within a commemorative operation, opportune and necessary for the print market after Michelangelo's death in 1564.

Once in Mantua, G. was able to deepen his collaboration with local artists, and in the first place with his brother Teodoro who provided him with inventions to be graphically translated. This is what happened for the engraving, referable to the beginning of the eighth decade at the latest, depicting Angelica and Medoro, perhaps from a missing painting by his brother, but once kept in a private collection in Amsterdam (Kristeller, p. 563) or, for the one with Venus and Adonis, which G. derived from an original of the same, lost, but documented in the Gonzaga collections until 1627 (Luzio, pp. 95 ff.), and known through an anonymous copy kept in the Musée des beaux-arts in Nantes.

From 1567 is theHercules at rest, from a drawing by Giulio Romano of the Musée des beaux-arts in Alençon for the Stucco room in Palazzo Te.

A landscape widely expanded horizontally constitutes the background, where a "framed view" among the branches of trees closely recalls the production of the school of Fontainebleau and above all the landscape insertions within the subjects taken from the gallery of Francis I, performed by Antonio Fantuzzi in the early 1940s.

All 'Hercules followed, after an undocumented period, with the exception of a notarial deed of 1569 (The engravings, p. 19), an engraving of 1574 again from a subject by Giulio: Love and Psyche, from the fresco in the room of Psyche to the Te.

Around the years 1574-75 it is possible to hypothesize a Roman stay of the G.: two of his branches were published in the workshop of Lafreri, and it is possible to trace another three to this client, even if they do not bear his address. Almost identical in format, they all have a white space at the bottom, in three cases occupied by Latin verses of a devotional character: they therefore had to constitute a homogeneous series. Two of them derive from famous and Roman works: the Madonna of Loreto di Raffaello, then in the Della Rovere chapel in S. Maria del Popolo il Mystical marriage of St. Catherine by Antonio Allegri, known as Correggio, now in Naples, in the National Museum of Capodimonte, painted perhaps in Rome between 1515 and 1518, to which G. added the landscape in the background where Nordic echoes return. The other three prints are, also in the iconographic choice, more didactic: in theCoronation of the Virgin the central episode is surrounded by a frame of small panels with scenes from the Life of Mary, a model perhaps derived from his brother Theodore (The engravings, p. 176) similarly both the Virgin of Sorrows both theMan of pains, where some elements of urban architecture in the background recall the printed views of Mantua (Salsi, 1991, p. 8). To refer again to this presumed stay in Rome, or in any case to a Roman market, is the reproduction of theFarnese Hercules, the only classical sculpture engraved by Ghisi.

His last commissions, however, were from Mantua, and for the Gonzagas. He was in service at the court perhaps as early as 1574, when some "dressing rooms" for Te are reserved for him (Belluzzi, p. 67) and with certainty since 1576, the year in which the house in the district was confirmed to G. and his brother. del Cigno, assigned by the hospital to his father forty years earlier (D'Arco, 1857, pp. 138 ff.). In 1576 the Trinity, where G., who declared himself "inventor" for the first time, reworked the iconography of Throne of Grace of Dürerian ancestry. The dedicatory inscription, which refers the engraving to Duke Guglielmo Gonzaga and to the monument - the palatine church of S. Barbara - erected by him, brings it closer, in terms of intent and chronology, to a homogeneous series of four slabs made by G to illustrate the Missal of St. Barbara, published in 1583.

This is theAdoration of the shepherds, similar to the analogous subject performed by G. Mazzola Bedoli for the nearby San Benedetto Po, and today in the Louvre of the Crucifixion with the Madonna, Magdalene and John the Evangelist, perhaps from a drawing by Theodore (The engravings, p. 199), contiguous to the Crucifixion with angels, autonomous realization of G., although the subject has sometimes been attributed to F. Ghisoni (Bellini, 1986, p. 47) of the Resurrection, from an evident, albeit remote, Julian origin of Martyrdom of St. Barbara, for which the source has been indicated in the altarpiece by F. Brusasorci of the high altar of S. Barbara, even if the similarities are far less than the differences (Id., 1998, pp. 271-273).

The Rest on the flight to Egypt from 1578 is the last dated engraving by G., again with an independent view that opens in the backdrop, from a painting made by Giulio Campi for the church of S. Paolo Converso in Milan, with the probable mediation of a drawing, also by Campi, now in the Louvre (Id., 1986, pp. 46 f.).

In October 1581, G. was paid by the court of Mantua as an embroiderer (Bertolotti). His letters, written between 1578 and 1582, preserved in the State Archives of Mantua (Bellini, 1998, pp. 312-317), in which mention is made of a further activity of G. at the court, that of superintendent of the ducal wardrobe and jewelry designer. The register kept in the State Archives of Mantua on which G. noted the jewels of the Gonzagas from 1577 to 1582, not only confirms this role, but gives us back the only designs - of jewels, in fact - certainly referable to the artist (Splendors ..., p. 223).

G. died in Mantua, without children, on 15 December. 1582 after a short illness (Bellini, 1979, p. 123). His brother Teodoro was responsible for returning the dowry to his sister-in-law, Lucia Nicolini (D'Arco, 1857, p. 267).


Tag: Barbara Ghisi

with interventions by Arianna Sartori and Renzo Margonari.

Exhibition conceived and designed by Adalberto Sartori and Maria Gabriella Savoia to celebrate the 40th anniversary of the artistic activity of the Sartori Gallery in Mantua. The exhibition and the catalog, curated by Arianna Sartori, enjoy the patronage of the Lombardy Region, the Province of Mantua, the Municipality of Mantua, the Municipality of Castel d'Ario and the Pro Loco Castel d'Ario Association.

Until 14 December 2014 with opening hours: Saturday 15.30-19.30 and Sunday 10.30-12.30 / 15.30-19.00.

SARTORI HOUSE MUSEUM - CASTEL D’ARIO (Mantua)

Via XX Settembre, 11/13/15

One hundred years of Mantuan art

from the short century to the present day

Aldo Andreani • Arrigo Andreani • Celso Maggio Andreani • Franco Andreani • Mario Artoni • Lino Baccarini • Rito Baccarini • Leonardo Balbi • Eriana Baldassari • Umberto Mario Baldassari BUM • Nicoletta Barbieri • Franco Bassignani • Edoardo Bassoli • Gianfranco Belluti • Luigi Belluzzi (from Mainolda ) • Bruno Beltrami • Edoardo Beltrami • Nerio Beltrami • Angiola Bernardelli • Giuseppe Billoni • Vittorio Bonatti • Carlo Bonfà • Angelo Boni • Lucia Bonseri • Ileana Bortolotti • Archimede Bresciani (from Gazoldo) • Mario Brozzi • Carlo Alberto Capilupi • Ferdinando Capisani • Antonio Carbonates • Vittorio Carnevali • Angelo Castagna • Arturo Cavicchini • Ugo Celada (from Virgilio) • Piero Ceruti • Benito Cirelli • Vasco Corradelli • Rossano Cortellazzi • Giuseppe De Luigi • Luigi Desiderati • Carlo Dusi • Giuseppe Facciotto • Cosimo Felline • Renzo Ferrarini • Massimo Ferri • Anselmo Galusi • Lucia Gaudio • Barbara Ghisi • Antonio Ruggero Giorgi • Giannino Giovannoni • Franco Girondi • Gius eppe Gorni • Isa Gorreri Palvarini • Rinardo Gozzi • Alfio Paolo Graziani • Denis Guerrato • Giuseppe Guindani • Antonio Haupala • Cesare Lazzarini • Mario Lipreri • Mario Lomini • Enrico Longfils • Rino Luppi • Elisa Macaluso • Renzo Margonari • Aldo Marini • Ivonne Melli • Giuseppe Menozzi • Giovanni Minuti • Anna Moccia • Alfonso Monfardini • Danilo Montini • Gino Morselli • Luciano Morselli • Ezio Mutti • Sandro Negri • Vindizio Nodari Pesenti • Giordano Nonfarmale Male • Roberto Pedrazzoli • Anna Maria Pellicari • Gianna Pinotti • Carlo Polpatelli • Mario Polpatelli • Germana Provasi • Arturo Raffaldini • Guido Resmi • Teresa Rezzaghi • Riccardo Rinaldi • Chiara Rossato • Marzia Roversi • Anna Ruggerini • Selvino Sabbadini • Carmelo Salemi • Daniela Savini • Albano Seguri • Sergio Sermidi • Lino Severi • Luca Siri • Anna Somensari • Giorgio Somensari • Luigi Somensari • Paolo Soragna • Giordano Spain • Severino Sweepers • Elio Terreni • Francesco Tommasi • Osvaldo Trombini • Fran cesco Vaini • Dino Villani • Claudia Vivian • Vanni Viviani • Enzo Zanetti • Carlo Zanfrognini • Patrizia Zanoni

Inauguration: Sunday 9 November, 11.00

November 9 - December 14, 2014

Exhibition and catalog curated by Arianna Sartori

The Sartori House Museum in Castel d’Ario (Mantua) in via XX Settembre 11/13/15, from 9 November to 14 December 2014 presents the exhibition "One hundred years of Mantuan art from the short century to the present day".

The exhibition, which was born from an idea and project by Adalberto Sartori and Maria Gabriella Savoia, enjoys the patronage of the Lombardy Region, the Province of Mantua, the Municipality of Castel d'Ario, the Municipality of Mantua and the Pro Loco Castel d'Ario Association.

The exhibition "One hundred years of Mantuan art from the short century to the present day" will open on Sunday 9 November at 11.00, with speeches by Arianna Sartori, curator of the exhibition and catalog and art historian Prof. Renzo Margonari.

On display are 114 works, including paintings, sculptures, ceramics, watercolors and engravings made by:

Aldo Andreani, Arrigo Andreani, Celso Maggio Andreani, Franco Andreani, Mario Artoni, Lino Baccarini, Rito Baccarini, Leonardo Balbi, Eriana Baldassari, Umberto Mario Baldassari, Nicoletta Barbieri, Franco Bassignani, Edoardo Bassoli, Gianfranco Belluti, Luigi Belluzzi (from Mainolda) , Bruno Beltrami, Edoardo Beltrami, Nerio Beltrami, Angiola Bernardelli, Giuseppe Billoni, Vittorio Bonatti, Carlo Bonfà, Angelo Boni, Lucia Bonseri, Ileana Bortolotti, Archimede Bresciani (from Gazoldo), Mario Brozzi, Carlo Alberto Capilupi, Ferdinando Capisani, Antonio Carbonati , Vittorio Carnevali, Angelo Castagna, Arturo Cavicchini, Ugo Celada (from Virgilio), Piero Ceruti, Benito Cirelli, Vasco Corradelli, Rossano Cortellazzi, Giuseppe De Luigi, Luigi Desiderati, Carlo Dusi, Giuseppe Facciotto, Cosimo Felline, Renzo Ferrarini, Massimo Ferri , Anselmo Galusi, Lucia Gaudio, Barbara Ghisi, Antonio Ruggero Giorgi, Giannino Giovannoni, Franco Girondi, Giuseppe Gorni, Isa Gorreri Palvarini, Rinardo Gozzi, Alfio Paolo Graziani, Denis Guerrato, Giuseppe Guindani, Antonio Haupala, Cesare Lazzarini, Mario Lipreri, Mario Lomini, Enrico Longfils, Rino Luppi, Elisa Macaluso, Renzo Margonari, Aldo Marini, Ivonne Melli, Giuseppe Menozzi, Giovanni Minuti, Anna Moccia, Alfonso Monfardini , Danilo Montini, Gino Morselli, Luciano Morselli, Ezio Mutti, Sandro Negri, Vindizio Nodari Pesenti, Giordano Nonfarmale Male, Roberto Pedrazzoli, Anna Maria Pellicari, Gianna Pinotti, Carlo Polpatelli, Mario Polpatelli, Germana Provasi, Arturo Raffaldini, Guido Resmi, Teresa Rezzaghi, Riccardo Rinaldi, Chiara Rossato, Marzia Roversi, Anna Ruggerini, Selvino Sabbadini, Carmelo Salemi, Daniela Savini, Albano Seguri, Sergio Sermidi, Lino Severi, Luca Siri, Anna Somensari, Giorgio Somensari, Luigi Somensari, Paolo Soragna, Giordano Spagna, Severino Spazzini, Elio Terreni, Francesco Tommasi, Osvaldo Trombini, Francesco Vaini, Dino Villani, Claudia Vivian, Vanni Viviani, Enzo Zanetti, Carlo Zanfrognini, Patrizia Zanoni.

( Catalog : 240 pages with a presentation by Stefano Bosi, the 114 works exhibited and the biographies of the invited artists are reproduced, Archivio Sartori Editore, Mantua)

Timetables: Saturday 15.30-19.30 - Sunday 10.30-12.30 / 15.30-19.00.

Entrance: free.

info: 0376.324260

Forty years ago, the artistic action of the Sartori was born in Mantua

In November 1974, Maria Gabriella Savoia with her husband, the publisher Adalberto Sartori, opened in Mantua, in via XX Settembre n. 16, the "Il Deschetto" Art Gallery, which began its activity with an exhibition dedicated to Carmelo Salemi. The painter, from Mantua by adoption but Sicilian by birth, was a very active artist in those 70s, even at a national level Carmelo Salemi, now forgotten, was an original and brilliant artist at the same time, a true creative, with a very high production of works .

During the crowded opening, the first volume of the "Dictionary of the Mantovani Painters" was also presented, also edited by Maria Gabriella Savoia and Adalberto Sartori: it was an agile volume that included a "first" census of modern and contemporary artists who had lived or lived in the Mantua area. This first volume in the following years was followed by a second and a third.

The activity of the Gallery continued with the personal exhibitions of Anselmo Galusi, the exhibition to three of the painters Carlo Zanfrognini, Antonio Ruggero Giorgi and Giuseppe Grassi, then the personal exhibitions of Domenico Pesenti, then of Vindizio Nodari Pesenti, Giuseppe Guindani, Giuseppe Gorni with the drawings unpublished from the Parisian period, the exhibition of unpublished drawings by Domenico Pesenti and Vindizio Nodari Pesenti, then hundreds of other personal and group exhibitions mainly by Mantuan artists.

In 1989, Adalberto added to his activity as a publishing house and art gallery the publication of the new monthly on art, antiques and culture "Archivio", a nationally distributed newspaper, which opened a prestigious window on the contemporary panorama of the world of Italian art and which was maturing a truly significant success.

Thus began in those years, contacts and friendships with great and important renowned artists, such as Luciano Minguzzi, Floriano Bodini, Novello Finotti, Aldo Borgonzoni, Saverio Terruso, Gianfranco Ferroni, Giancarlo Cazzaniga, Franco Rognoni, Simon Benetton, Giancarlo Ossola, Luigi Timoncini, Federica Galli, Giancarlo Marchese, Nino Cassani, Piero Gauli, Giacomo Benevelli, just to name a few, many of whom later exhibited with personal exhibitions in the gallery of Arianna Sartori, who since 1995 took over from their parents' business. As an art gallery and publishing house, it continued its activity with the creation of an important monographic volume on the figure of Antonio Carbonati and with the publication of "Artists in Mantua in the nineteenth and twentieth centuries", a work in six volumes.

Today with the exhibition "One hundred years of Mantuan art, from the short century to the present day", the Sartori family, Arianna, Maria Gabriella and Adalberto, celebrates their forty years of love for art.

The exhibition, which features over one hundred artists, is the most representative of this new millennium. Starting from the artists who, coming out of the 19th century, have renewed Mantuan painting, up to the artists active today, so are exhibited works by Giuseppe Guindani, Vindizio Nodari Pesenti, Archimede Bresciani da Gazoldo, Mario Lomini, Aldo and Arrigo Andreani, Lino and Rito Baccarini, and then continue with Giuseppe Menozzi, Alfonso Monfardini, Arturo Cavicchini, Giovanni Minuti, Francesco Vaini, Luigi Somensari, Giuseppe Facciotto, Giuseppe De Luigi, Ezio Mutti, Ugo Celada da Virgilio, Antonio Carbonati, Carlo Zanfrognini, Celso Maggio Andreani , Guido Resmi, Mario Polpatelli, Lino Severi, Umberto Mario Baldassari (BUM), Luigi Belluzzi della Mainolda, Piero Ceruti, Giuseppe Gorni, Arturo Raffaldini, Vittorio Bonatti, Alfio Paolo Graziani, Antonio Ruggero Giorgi, Dino Villani, Carlo Dusi, Albano Seguri , Selvino Sabbadini, Vasco Corradelli, Carlo Alberto Capilupi, Aldo Marini, Gino Morselli, Teresa Rezzaghi. The exhibition is completed with the works of the generations that come from the postwar period up to today: Anselmo Galusi, Cesare Lazzarini, Rino Luppi, Enrico Longfils, Sergio Sermidi, Renzo Margonari, Carmelo Salemi, Vanni Viviani, Roberto Pedrazzoli, Gianfranco Belluti, Edoardo Bassoli , Anna Moccia, Ferdinando Capisani, Carlo Bonfà, Mario Brozzi, Bruno, Edoardo and Nerio Beltrami, Riccardo Rinaldi, Luigi Desiderati, Renzo Ferrarini, Mario Lipreri, Sandro Negri, Angelo Boni, Giannino Giovannoni, Giuseppe Billoni, Vittorio Carnevali, Franco Bassignani, Rinardo Gozzi, Severino Spazzini, Francesco Tommasi, Angelo Castagna, Anna Ruggerini, Elisa Macaluso, Danilo Montini, Paolo Soragna, Eriana Baldassari, Osvaldo Trombini, Franco Andreani, Mario Artoni, Franco Girondi, Leonardo Balbi, Nicoletta Barbieri, Angiola Bernardelli, Lucia Bonseri , Benito Cirelli, Giordano Spagna, Ileana Bortolotti, Isa Gorreri Palvarini, Luciano Morselli, Germana Provasi, Rossano Cortellazzi, Cosimo Felline, Massimo Ferri, Gianna Pinotti, Lucia Gaudio, Barbara Ghisi, Antonio Haupala, Denis Guerrato, Ivonne Melli, Giordano Nonfarmale, Anna Maria Pellicari, Carlo Polpatelli, Marzia Roversi, Chiara Rossato, Daniela Savini, Luca Siri, Anna Somensari, Giorgio Somensari, Elio Terreni, Claudia Vivian, Enzo Zanetti, e Patrizia Zanoni.

Come si può notare dall’elenco degli artisti presenti, la rassegna si pone come assolutamente innovativa sia per l’alto numero di artisti come per la scelta operata. Per altro, l’oggettiva assenza, per motivi diversi, di alcuni artisti di valore, non intacca l’importanza della rassegna, che schiera ben 114 artisti tra pittori, scultori, incisori e ceramisti, rappresentati con opere significative e spesso inedite.

In questa mostra è stata data la stessa importanza agli artisti del secolo XX come a quelli del XXI, agli artisti figurativi, come a quelli astratti o di altre tendenze. La rassegna consente di vedere lo spaccato completo di quella ricerca artistica che gli artisti mantovani hanno saputo portare avanti e proporre anche fuori dal nostro territorio nelle più importanti rassegne nazionali.

Ci auguriamo che questa proposta di “Arte Mantovana” serva da stimolo anche alle varie istituzioni culturali operanti sul territorio, per poter approfondire, diffondere, e divulgare la conoscenza delle varie personalità artistiche.

Negli spazi canonici, vanno organizzate mostre, rassegne e premi, in modo di far conoscere, vivere e rivivere quella valida e significativa e folta schiera di creatività mantovana, che con la propria opera artistica, ha dato e dà lustro e onore alla nostra città e provincia a livello regionale e nazionale.

Titolo mostra: Cento anni di arte mantovana dal secolo breve ai nostri giorni

Sede: Casa Museo Sartori

Luogo: Castel d’Ario (Mn), via XX Settembre, 11/13/15

Inaugurazione: Domenica 9 novembre 2014, ore 11.00

Interventi all’inaugurazione:

Durata: dal 9 novembre al 14 dicembre 2014

Idea e progetto : Adalberto Sartori e Maria Gabriella Savoia

Mostra e catalogo a cura di: Arianna Sartori

Presentazione catalogo: Stefano Bosi

Catalogo: Archivio Sartori Editore, Mantova

Stampa: Marchesini , Verona

Organizzazione : Casa Museo Sartori Associazione Culturale, Castel d’Ario

Regione Lombardia nella figura dell’Assessore alle Culture, Identità e Autonomie Cristina Cappellini

Provincia di Mantova nella figura del Presidente Alessandro Pastacci

Comune di Castel d’Ario nella figura del Commissario prefettizio Rossana Sorgi

Comune di Mantova nella figura del Sindaco Nicola Sodano

Associazione Pro Loco Castel d’Ario

Gemar srl – Porto Mantovano (Mn)

Ponti Arredamenti – San Biagio (Mn)

Ottica Immagine Globale – Mantova

Sponsor tecnici: Mail Boxes etc – Mantova / Trattoria Al Macello – Castel d’Ario (Mn) / Salumificio Merlotti – Marmirolo (Mn)


Barbara Ghisi

Barbara Ghisi
Bomporto (MO)

Categoria: Pittori

Opere inserite: 14

Visualizzazioni profilo: 3065

Voti ricevuti: 84 Chi ha votato?

Data di nascita: 27/05/1971
Residenza: Bomporto - MO
Telefono: 3288662152

Barbara Ghisi: luoghi dell’anima
Bisogna perdersi per ritrovarsi, abbandonare totalmente i vincoli della mente e sprofondare negli abissi del proprio io. Mondi fantasmatici, pertugî sconosciuti, nuove modalità di percepire con
i sensi e l’immaginazione, portano ad una consapevolezza che prima di questo smarrimento non avrebbe mai potuto essere formulata. E’ come se quest’artista avesse percorso un tunnel alla fine del quale può vivere una dimensione diversa dalla quotidianità. Il vero mondo nel quale si sente libera di esprimere tutto quello che trattiene nel suo vissuto.
Svincolarsi dai proprî schemi, dai proprî parametri, ci lascia in una fase di sospensione durante la quale si colgono possibilità fino a quel momento estranee: è l’esperienza dello spaesamento, della ricerca del nostro universo ancora celato a se stessi. Tuffarsi nelle pieghe più recondite della nostra entità interiore è un atto di coraggio, perché si viene a contattare il meraviglioso racchiuso in noi, ma anche quelle paure ancestrali che, grazie al gesto pittorico, vengono sublimate. Rifugiarsi nei proprî mondi sommersi, tanti sono gli abissi del proprio “io”, corrisponde all’atto molto energico di dare vita alla parte più vera di se stessi, è una nascita, o meglio ogni volta che Barbara Ghisi si pone davanti ad una tela è una ri-nascita. Il principio femminile ha, perciò, il sopravvento nel suo operato.
La scelta di rappresentare i fondali marini è emblematica. E’ l’informe, il caos che dentro di noi assume un suo ordine ed un suo corpo in un movimento senza fine.
Il mare è “l’anima mundi”, l’insondabile della vita che deve essere attraversato per conseguire la saggezza. E’ il viaggio iniziatico che, dopo aver superato le prove incontrate, porta alla scoperta più sensazionale che esista: quella di se stessi.
Gli Accadi associavano l’acqua alla saggezza. Il mondo aveva origine dall’acqua dolce Apsu e dall’acqua salata Tiamat, che insieme simboleggiano le forze primordiali delle acque nel dare la vita: l’origine di tutto. Fondali marini ammirati durante i suoi viaggi le cui immagini si fondano con forme e colori già contenuti nell’animo. Non si coglie più il limite fra il vissuto dell’azione e quello dell’inconscio. In molte etnìe dell’ Africa sub-sahariana si pensa che ciò che avviene in sogno sia realmente accaduto, perché la realtà non si può scindere, è tutt’una. Questo avviene nelle rappresentazioni della Ghisi.
Il discorso si estende alla resa delle onde, acqua in costante movimento che tutto ribalta, sommerge e rinnova. Non c’è la ricerca di restituire in modo calligrafico questo elemento marittimo.
A differenza dell’onda di Courbet, ci troviamo di fronte ad una manifestazione più onirica, affine come sensibilità alle onde della pittura romantica soprattutto francese e tedesca, dati naturali nei
quali l’artista proiettava tutto se stesso. Nel configurare l’immagine di tutti gli elementi appartenenti al mondo marino, la Ghisi inizia con una delineazione piuttosto naturale dei soggetti presi in
considerazione, per stemperare via via la sua gestualità verso l’astrazione. Questo procedimento, la scelta di colori luminosi, sono la risultanza di un’espressione estatica, frutto di una rielaborazione profonda di una percezione emotiva del dato visivo.
Le immagini degli atolli sotto i quali compaiono i fondali marini quali mondi sommersi, è chiaramente allusiva delle realtà parallele che vengono vissute. Una pioniera di mondi sconosciuti
o forse scoperti e poi scomparsi o mai esistiti, come le antiche civiltà di Atlantide e di Lemuria. La ricerca di conoscerli, comprenderli non è altro che la volontà di contattare le proprie origini,
il filo sottile che ci lega all’intero universo. Rappresentazione di quello che si è già sperimentato, ma anche di quello che si vive soltanto nel pensiero e nelle sensazioni il confine è molto labile.
E’ quella porzione di “terra di nessuno”, di cui un piccolo segmento segreto appartiene a ciascuno degli esseri è l’unico luogo incontaminato del quale soltanto il singolo ha familiarità.
Se il mondo al confine del reale che l’individuo contiene è infinito, ne consegue la scelta di esprimersi attraverso grandi formati e pigmenti brillanti, carichi di energìa.
La tecnica preferita è mista. All’uso delle resine catalizzate che si fondono con il colore ad olio, si aggiungono delle carte veline stropicciate, foglie, conchiglie e piastrine di vetro che proiettano una luce mai naturale, ma dell’anima.
Immergersi, esperire, per poi risalire alle terre emerse, è un atto catartico. Dopo essersi rigenerata nelle proprie acque, l’artista può rappresentare dei paesaggi e dei ritratti di persone e di
animali, ma sempre, come nella raffigurazioni dei fondali marini e dei mondi sommersi, vivificandole in una luce innaturale appartenente ad un’altra dimensione.
Ne consegue che, se anche il tratto è preciso, elaborato, corrispondente al dato visivo, l’esito cromatico, invece, assume una sua valenza psichedelica, incandescente, non terrena.

Commenti sulle opere di Barbara Ghisi:

Complimenti per le tue sculture. sn molto belle.

commento di Alemar sull'opera Nefertiti - domenica 16 settembre 2012 alle ore 18:17

Originale, bella.

commento di Intarsiatore sull'opera Omaggio a Herman Melville, Moby Dick. 2012. - mercoledм 26 settembre 2012 alle ore 17:26

Brava Barbara. Sei riuscita dove io nonostante diversi maldestri tentativi ho miseramente fallito. Invece il tuo lavoro nonostante risulti la copia di un opera molto conosciuta, conserva un tocco molto personale. :-)

commento di Andrea Cicconi sull'opera Nefertiti - martedм 09 ottobre 2012 alle ore 18:01

molto particolare.

commento di Naif sull'opera Il cigno, 2009. - giovedм 08 novembre 2012 alle ore 22:20

Ci si può innamorare di un'opera? Ho le farfalle nello stomaco. Veramente fantastico, complimenti!

commento di Chris Saw sull'opera Tesori sommersi - venerdм 02 settembre 2016 alle ore 22:22

Cara Barbara, complimenti per le tue opere. soprattutto questa che

sottolinea la storia di Anna Frank . bisogna ricordare quello che la

Storia ha creato e gli orrori dello sterminio.

Cordialmente e brava per i tuoi lavori.

Antonio Lucio Rudy Lacquaniti.

commento di Antonio Lacquaniti sull'opera Omaggio ad Anna Frank - giovedм 20 aprile 2017 alle ore 15:26

Barbara Ghisi - Artista - Opere

Mostre
Settembre 2020– Presentazione dell’Annuario Internazionale d’Arte Contemporanea collettiva ARTISTI ’20 e Inaugurazione della mostra di una parte degli artisti presenti nel volume presso il Palazzo Ximenes Panciatichi di Firenze. Opera esposta “Golden Blue”.
Settembre 2020– Mostra Internazionale ‘Art & Design Milano’ presso lo Spazio Arte Tolomeo di Milano.
Ottobre 2020– Video-esposizione presso la Galleria White Space Chelsea New York, opera selezionata “Autunno”.
Novembre 2020– Partecipazione presso Art Padova con Galleria Farini di Bologna (BO).
Dicembre 2020– Segnalata da Luciano Carini e poi Selezionata da Start Group per la partecipazione alla Triennale di arti visive di Roma 2020, con l’opera “Evanescenze floreali”.

Mostre 2020
Gennaio/Febbraio 2020– Selezionata con l’opera “Autunno” per la partecipazione alla Mostra antologica “Dario Fo e l’arte contemporanea” con le fotografie di Roberto Villa a cura di Vittorio Sgarbi e Salvo Nugnes presso lo Spazio MiCRO di Roma.
25 Gennaio 2020– XXIX Collettiva di Arte Contemporanea Internazionale, selezionata con l’opera “Gli Abissi dell’anima” per la collaterale ad Arte Fiera, organizzata dalla Galleria Farini presso Palazzo Fantuzzi, Bologna, presentata da Vittorio Sgarbi.
14/17 Febbraio 2020– Partecipazione ad Arte Genova 2020 con Galleria Farini Concept: Mario Schifano & Selezione artisti Galleria Farini Concept.
Marzo 2020– Selezionata per l’inserimento nella pubblicazione “Annuario Artisti 2020” di Arte Contemporanea, edito da Mondadori, curato da Luca Beatrice, Angelo Crespi, Philippe Daverio, Vittorio Sgarbi.
Aprile 2020– Selezionata per la mostra collaterale al Salone del Mobile di Milano a cura di Artemente Gallery presso lo Spazio Arte Tolomeo. Rimandata a data da destinarsi causa emergenza sanitaria.

Mostre 2019
Marzo 2019– Mostra collettiva di fotografia” L’Abbazia ritrovata” presso il Chiostro Abbaziale, Nonantola (Mo) e partecipazione alla Mostra di pittura e scultura curata da Barbara Ghisi “La materia e la creazione” presso il Refettorio monastico dell’abbazia del Polirone a S. Benedetto Po (MN), selezionata con le opere “Atlantide”, “Autunno” ed “Evanescenze floreali”.
Aprile 2019– Selezionata per la partecipazione alla Biennale Nazionale di pittura Città di Soliera (MO)con l’opera “Abissi”.
Maggio 2019 – Biennale di Scandiano (pittura, scultura, fotografia).
Giugno 2019– Mostra collettiva di pittura “As tratti” presso Atelier Gallery Tamara di Guastalla (RE), selezionata con le opere “Mattinata di Estate” e “Gli abissi dell’anima”.
Giugno/Luglio 2019– Bi-personale di pittura presso “Corte San Leonardo” Matera (MT).
Agosto 2019– Marguttiana Arte, Forte dei Marmi (LU).
Settembre 2019– Selezionata e segnalata con menzione d’onore con l’opera “Autunno” per la finale del Reart Prize 2019 tenutosi dal 7 Settembre presso la Reggia di Rivalta (RE).
10/14 Ottobre 2019– selezione ed esposizione presso la Biennale di Milano organizzata da Salvo Nugnes e presentata da Vittorio Sgarbi presso Brera Site con l’opera “Gli Abissi dell’anima”.
25 Ottobre 2019– Selezionata per l’esposizione presso il Palazzo Mediceo di Serravezza (Lu) per la quinta edizione del “Premio Internazionale Michelangelo Buonarroti” con conseguimento del diploma d’onore con Menzione di encomio per l’opera “Gli Abissi dell’anima”.
Novembre/Dicembre 2019– Concorso Nazionale on line “Esponi con Gigarte”, 25° classificata con l’opera “Gli Abissi dell’anima”.
Dicembre 2019– Selezionata per il Concorso “La signora delle Stelle” Premio Margherita Hack, organizzato da Spoleto Arte, Salvo Nugnes, con esposizione delle opere presso la Galleria Art Gallery di Milano, con conseguimento della Menzione speciale e premio Matera con le opere “Energia cosmica” e “Autunno”.
Dicembre 2019– Partecipazione alla mostra/concorso Premio Montepoli, organizzato dall’Associazione “Nonantolarte”, presso il Chiostro Abbaziale Nonantola (MO).
Dicembre 2019– Selezionata da Rino Lucia, Ea Effetto Arte, per il Premio Città di New York con video-esposizione dell’opera “Autunno” presso la Galleria White Space Chelsea di New York.

Mostre 2018
Maggio 2018– Selezionata per la Mostra “Dentro l’arte” Galleria Bottega d’arte Merlino, Artexpertise, Firenze, con le opere “Mattinata di Estate” e “Azur”.
Agosto 2018– Marguttiana Arte, Forte dei Marmi (LU).
Novembre 2018– Partecipazione ad “Art Padova” con l’Associazione “Napoli Nostra” e Mostra presso l’Azienda “Artistica Grafica” di Modena.
Dicembre 2018/Gennaio 2019– decima classificata al Premio Montepoli, organizzato dall’ Associazione “Nonantolarte”, Nonantola (MO), con l’opera “Atlantide”.
Dicembre 2018 – Mostra collettiva “Il moto dell’Anima” organizzata dall’associazione “Napoli Nostra” presso Il Maschio Angioino di Napoli.
Febbraio 2018– Collettiva “Forme e colori tra fantasia e realtà” presso la Galleria M.A.D di Mantova, selezionata con le opere “Mattinata di Estate” e “Atlantide”.

Mostre 2017
Maggio 2017– Biennale d’arte di Scandiano (RE) in cui ottiene l’attestazione di merito quale artista finalista al concorso Nazionale di Arte contemporanea “I BOIARDO” con l’opera “L’Alba di un nuovo giorno”.
Settembre 2017– Marguttiana Arte, Forte dei Marmi (LU).
Settembre 2017– Mostra collettiva “Creazione e Materia”, Castello di Revere (MN), curata da Barbara Ghisi.
Novembre 2017– Bipersonale di pittura “Creazione e materia In Villa”, Club La Meridiana Casinalbo (MO).
Dicembre 2017/Gennaio 2018– Premio Montepoli, organizzato dall’ Associazione “Nonantolarte”, Nonantola (MO), selezionata con l’opera “Into the red” per una mostra personale presso Artistica Grafica, Modena.


Video: Take An Exquisite Artists Journey Through Provincetown  Open Studio with Jared Bowen