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TO EAST AND 50S?

Nothing of the master is to burn, can like it or not, but all his works are part of a life dedicated to art, a life spent in art, his. As the work of the 50s of the period of the Attic Macabre, not appreciated by all as the brilliant works of the 60s onwards, the period surfant. Those are the 50 jobs that may well stand a comparison, because, even if it is another type of painting, it is a genuine painting, more immediate in the sense that the execution but still manages to give the right to emotionally charged the observer. There are nude studies that are done to perfection, nothing is out of place, and date of each stroke surge senza aggiungere o togliere qualcosa al lavoro finito. Alcuni con colori violenti quasi a ricordare dipinti espressionisti, con linee dure a spezzate, altri tanto delicati come il ritratto a Dina, dove una luce sembra accarezzarle il volto che sprigiona un innocente giovinezza. Tavole con colori abbinati in modo manieristico e certamente più materici come il "Brindisi in Cielo" dove il Maestro immortala un momento di raffinata allegria nello studio dell'amico Abacuc, denominato appunto "Cielo". Ritratti di giovani modelle e amiche ma anche di gente che Alessandri incontrava nelle piole della vecchia Torino come "Gina la scraciuna" o personaggi bizzarri quali "Cup il muto" o "Il venditore di noccioline" che bazzicava al Baloon. E non solo, in quegli anni Alessandri portrayed friends and fellow painters who frequented the attic of Death as the young Aschieri. What is striking in the soul it is these characters sometimes disturbing sometimes if we can be uncomfortable as the painting of a prostitute, but the beauty of those works of the '50s is its immediacy and simplicity that airway without a careful and studied research, so to give a time or better to capture those curious characters who were part of a company that long-gone but still if we look for are still present. Those under 50 are early works of course, but that line already the artistic talent of the Master. The irony was not lacking in those years already, Azalea and retract dupie CIAP is an illustration. A period that has grown artistically so that due consideration is to be taken, then satisfying us with its subsequent picture cycles gradually become more elegant, but in fact without the years of youth could not exist and we could not enjoy it !
Opera entitled: PORTRAIT IN RED DINA BACKLIGHT (51.8).

Opera entitled: TOAST IN THE SKY (57.30).

Opera entitled: STUDY OF SOLID CHAMPION DUPIE CIAP AZALEA SWIM IN THE SKY (57.34).

Opera entitled: STUDY FOR A PORTRAIT Aschieri (53.43)

Mysore Malinge Images

"THE BEAUTY immense". ART IN PHOTOGRAPHY. ANTONIO actinium.

It is not my usual style and never will be, use this space for other artists outside of the Master Alessandri, with the exception of one, the Maestro Antonio Attinà member and official photographer of the Archives Alessandri. On the occasion of the evening "at the table with the artist" to Ciacolon of Turin, I had the honor and pleasure to attend one of the most exciting works of Antonio. This is a video projection of photographs entitled "The Beauty immense". Yesterday evening, unfortunately because of my shyness I am not able to best express the feelings and emotions of this wonderful work. So, I take this opportunity now and I hope this space, knowing the humility of the Master anemones, which I do not want if the gift of a celebration and my thoughts on his work here on the Blog.

Define photographs, I find it rather banale e scontato, già, perchè quelle di Antonio vanno ben oltre al semplice scatto fine a se stesso. Sono dei veri e propri Capolavori D'Arte dove Madre Natura fa da modella all'occhio del fotografo. Definisco i suoi scatti dei Capolavori D'Arte perchè danno un emozione, la stessa che si prova davanti ad opere pittoriche. Le sensazioni allo scorrere delle immagini sono state un qualcosa di surreale, una sensazione di pace e lieta solitudine dove sei solamente Tu e la natura. Sembra quasi di entrare in contatto con Dio perchè alla fine Dio lo troviamo proprio in tutto quello che sta nel creato. Scatti che si fanno ammirare e contemplare, riportando alla mente anche capolavori dell'arte informale, dello spazialismo, del surreale. Il mare, il deserto with its dunes, rivers, rocks, in short, our Earth seen from a perspective that is not every day you see a show that lies in the beauty of the vast spaces that nature provides us with wise and Attinà shot is captured. Unnecessary further comment, who will have the opportunity and the chance to witness this extraordinary work can not help but be delighted with a bit more in the head and heart. Thanks Antonio!

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About town 'ENIGMA

From Torinosette of 05/26/2000

last week and 'dead Lorenzo Alessandri, painter, and the news of his death and I' came before it was made public, making a strange and twisted path that I will not tell. I felt that to ask me something, a final gesture of friendship. Ten years ago, in the summer of 1990, had wanted to paint my portrait, inviting me with a polite letter in which he wrote that often meets me along the stalls of the course books Siccardi but had not dared to approach. Attracted by its reputation sulphurous I immediately accepted the invitation and went more 'times at his home in Giaveno to pose, as they say. Napoleon felt so in front of David. At the last visit, when it was no longer 'to pose but to withdraw the picture that Alexander had wanted to give me, I showed up with a tape recorder and asked him to tell me about his life. I listened to the tape, the first part consists of a long and heartfelt defense accusation that haunted him of being a demon, even the bishop of the Church of Satan. "The bishops are in a Mercedes, I with my broken-down VW Beetle, I could at most be a country priest." Alessandri's paintings reproduce real environments reproduced with meticulous, obsessive precision, in which burst into fantasy creatures, devils, above all, then monsters, witches, naked women, painted with the same attention to detail. To my objection that all the devils portrayed as if he had before his eyes could lead to some suspicion, he replied: 'It's like people are put in mind that Agatha Christie and 'a murderer just because' his novels are full of murderers. " Alessandri's voice sounds swell of indignation: "Some newspapers have written that this house of Giaveno and 'a castle and that giavenesi in full moon nights are afraid to leave the house as if I were a werewolf. A couple of young keepers that I was assuming they started to calm fear and I had to send them from my pastor to ask for information. " At the same time as if you walked away with disdain from 'the prosecution of businesses with Satan, Lorenzo Alessandri claimed his interest in the occult world, for all that' beyond 'the real: "I'm much more interested 'the world of the dead that the living world. " Passion cultivated from an early age, in parallel to that for drawing and painting, fields in which it was moved by self-taught. Born in 1927, son of the owner of a printing started, Lawrence had to study by reason, without any provision for the numbers. After working for 19 years in the family business when his father died and in agreement with the brothers, had retired to devote himself entirely to his two passions, painting and the world of the occult. From his long story I choose some significant events. We are in the fall of 1944, Lorenzo in February next REACHES '18 years to avoid forced recruitment father gets him to admit that the Order of Malta in Turin, in the hospital is located between via Giolitti and Piazza Carlina, in front of the barracks Pogdora, cure the wounded without regard to the uniform they wear. One spring day in '45 lead a German machine-gunned from a plane that is dying, there are cots available and Lorenzo gave her. The soldier wore to a leather bag and a nun who assists him off, heedless of his protests, and replace it with a crucifix. The nun went away, satisfied with the dying Lorenzo deferring to the bag neck and he, with his last strength that remain, is the gift from his box in an envelope of parchment tied with a black cord. Years later, having reached the necessary maturity, Lorenzo will use 'instructions contained in the envelope to learn that "the magic and 'a state of grace that has nothing to do with the show. We must dig, seek and find within themselves. The magician and 'as the guardian who has the keys to the treasure room, where you will' help others but not himself. " I asked him if these magical practices had sometimes helped in his work as a painter. "I painted female nudes in size and could not solve the problem of how to give a rose color on the body the same day to avoid the saw arrived. I remembered that Caravaggio had solved this problem and I have mentioned. That night I dreamed that Caravaggio had the face of Amedeo Nazzari 'cause baby I had seen a film, "Caravaggio," where Nazzari Caravaggio portrayed. We were a study in strange, full of things hanging, rags, ropes, chains, ladders, lanterns. I have explained my problem and he said: "What brushes do you use?" He asks. And I tell him, speaking in Piedmont says, "Campa via tuti 'sti ca servu martur Labour's useless! You have to use Chinese hog bristle brushes, long and hard. " The dream ends, I followed his instructions and solve my problem. "

(article GAMBAROTTA BRUNO).

Opera entitled: THE NIGHT RAINBOW 82.59 (first sketch for the cover of the book).