a catlike and provocative gaze on
masterpiece of western painting
silvana
lonardi, is native of verona (Italy), woman and mother of painters, florentine
for thirty years per affinity with her spirit, lives in its apartment-studio in
the district of the isolotto.
she made her training in the art academy of florence (Italy) and improved
herself in canada and paris (France). disciple of primo conti, faulli and de
bueno, she elaborates with subtlety the great florentine paintings of the golden
centuries.
the cat is a subject she privileges and she also paints works ordered by the
great florentines and european families. these animals are used up to her
especially as pretext.
thanks to an surprising operation of carry the day with gap, and making use of
ironic quotations, she puts in scene in a subtle way the tics and the virtues of
their masters.
to create her compositions, she takes in her mind the venus of titiano, the
olympia of manet or the stories of the brothers lorenzetti. that’s the way how
in this universe of elegantly transposed quotations, sit imposingly different
cats in dignity, fur and colour.
in her paintings come back again the space time and the light of the great
florentine painting intended to show new objectives and ironic performances.
her cats are the very happy and unconscious models of an artist who weaves with
golden wires talent and irony, the historical memory of a city where this animal
reigns as quiet sovereign, in the garden of “boboli” in “san miniato al monte”.
extract of
article from p.f. listri,
florence |
