collettivo culturale tuttomondo Claudio Malacarne
Claudio Malacarne è nato a Mantova nel 1956.
Nel corso degli anni ha frequentato lo studio del maestro Enrico Longfils, riuscendo a maturare quella sua ricerca pittorica che lo annovera tra i più fecondi coloristi del nostro tempo. Le sue opere grandi o piccole che siano attraggono subito l’attenzione del suo osservatore per la loro dirompente forza cromatica, alimentata da un continuo gioco ritmico dei colori.
Le sue pennellate corpose, stese sulla tela con ampia azione gestuale, evidenziano una pittura vigorosa e fortemente comunicativa, portando nel fruitore un forte impatto emotivo. Molto spesso vengono rappresentati paesaggi assolati e coloratissimi, che appartengono all’idea di Paesaggio Mediterraneo.
Mari, fiori, cieli, case e vicoli, che subito riconducono alla nostra memoria sensazioni di benessere legate ai paesaggi tipici delle estati italiane. Come negli Impressionisti, l’acqua e le ombre sono occasione di studio per l’artista, che le rappresenta in ogni sua opera. Dopo aver scoperto il realismo spagnolo di Joaquín Sorolla con il suo occhio indagatore ed i suoi colori fauvisti, diventa nell’ultimo decennio, l’artista dei “bagnanti” e dei “nuotatori”. “
In questi quadri si percepisce molto forte l’influenza di Matisse, ma anche l’incanto e lo stupore di Rimbaud e di Valéry”. Dal 1986 sono moltissime le mostre ed esposizioni dedicate a Claudio Malacarne, in tutte le capitali europee.
Claudio Malacarne, Giardino Romano, 2001
Claudio Malacarne was born in Mantua in the summer of 1956, when the sun had already entered the Cancer constellation. Since his very first works, drawing emerges as a privileged domain of action and reflection: very wide, autonomous and complementary to the pictorial practice. It’s an uninterrupted lab, a continuous diary, where an interior need is satisfied, the existential urge to possess reality through the image that recreates it. While attending the atelier of master Enrico Longfils, he passes trough the experiences of “different means”, from pencil, with which he dwells on the plasticity of subjects (especially in the study on animals), to the pen with Indian ink, first with minute and broken signs, then with denser and uninterrupted strokes, often diluted in liquid watercolours paintings, prelude to Natura morta con bottiglia, frutta e sveglia (1970), where his drawing fades away in the pictorial urge. Starting from the oil paintings of the’80s, the post-impressionist lesson of Gauguin and Van Gogh, Bonnard and Matisse is perceived, with a pictorial matter plein lumière, rather than plein soleil: in shades which are so subtly colored, so that they are no more readable as such, in the fluorescent and opalescent flash of switched bulbs in his “enchanted gardens” that shed light all over the landscape. There is a spurting of colors bouncing on palms, on seawater and on the house façades, quadrupling the luminous climax, in the net sensation that this – as in Proust narration or in Debussy music – is a lost instant in space and time, unique as a candid thought, imbued with quiet, which runs through the mind of a young girl in Ritratto della figlia Federica (1989). Though in tense, consistent, unexceptionable formal language, the works on Concerto jazz (2003-2008) are streaming with existential spirits, as if the painter leave in the close links of a valiant symbolist syntax the living, fleshy, fiery pieces of his primordial nature, uselessly hidden, or rather disguised with stubborn modesty. With his animal heads in Polittico (2007), he always fights between his own ideal platonic world, that is lucidly dialectic and extremely mental, and the big dark and tumultuous flow of blood of his senses. Due to this gap, the “fatigue of the painter” emerges and develops, the torment of his paintings, expressed in the color strength, the image entanglement, the overlapping and alternating of naturalistic and expressionistic data on the logic tissue of a neo-metaphysical figurative architecture. After discovering the Spanish realism of Joaquín Sorolla, his inquiring eye, the detective of the Fauves colors, becomes, in the last decade, the sharp, bitter artist of “bathers” and “swimmers”. He even started a fight against the character and following its own Pirandellian “One, no one and one thousands ”, he emphasized the physical appearance of the human figure immerged in the water of a swimming pool, first becoming the realist of a modern life explored with a vitriol torch, then he turns into – he, ironic and skeptical snatcher of portraits and animals put on the same level by a shared, insuppressible materiality –a sort of lost visionary, against his will. In these paintings the entire sumptuous and avid legacy of Matisse is found, but also the enchantment, the suspense, the anxious amazement of Rimbaud and Valéry.
Floriano De Santi
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