Duilio Dal Fabbro
Several years have passed since his friend Carlo Poloni dedicated himself to art in the stages of his youth: painting from its inception possibilities for future developments, in the artistic sense it was already perceived, a simple but good painting despite a lack of guides or mentors to grow.
Carlo undoubtedly was an artistic talent to be taken into consideration, flourishing, through the fullness of his style especially after the radical change occurred through the reason of the take away, of the too much and the superfluous, on the compositional structure that was reducing the weight of figuration. The young artist took possession of the painting with a constant growth, which led him on the fruitful paths of art merit from the appropriate tonal skills related. Carlo continued to paint with extraordinary passion, thanks his reason and his work in art, conceived through rather refined solutions with environmental realities of an original nature: the themes proposed were still lives, flowers and some praiseworthy landscapes of the known hilly places.
Too bad that in the most important period of his life, after an admirable maturity achieved, fate did not allow him a career of respect, worthy of his true artistic personality. I, for may part, would like to stress the fundamental aspect, whereby the overall work of Carlo Andrea is the artistic field goes beyond his own accomplishments and I would also say his intentions. Unfortunately, Carlo became ill at the most fruitful moment of his maturity, without being able to eradicate a serious and improper pathology. In that sad period, he drastically refused the exercise of painting and even destroyed part of his masterpieces. Despite these adversities we managed to collect among the various private collections of our territory, some works that are a valid demonstration of the artistic abilities of the master. I am sure that many lovers and enthusiasts will be present at the opening of exhibition, especially friends of the past who will come to find Carlo and his masterpieces, as happened many years ago. Other former middle school students where the professor taught physical education await this event with great gratitude to him.
This melancholy story certainly influenced his nephew Pier Fortunato Bottan, in fact a follower of his uncle Carlo who introduced himself in the artistic field to verify, I think, "a continuation, almost a rather familiar home challenge" to demonstrate his character and abilities "organoleptic-bloody, of a peculiar artistic taste". His initial works were nourished by a lifeblood still immature but significant, it is perceived that the young artist through the study intends to solve the "secrets" to obtain certain technical effects, the way of a brush stroke, the combination of different colors not to disturb the unity of the painting ad a proven style of perception through a refined appreciation that takes it step by step on the further paths of conventional art. The maturation of Pier Fortunato after the proclaimed figurative start, opens to an abstract-informal aesthetic close to the choices and solutions adopted by the Group of Eight gathered around the great art critic Lionello Venturi. Bottan thus moves away from a safe, meditative but not camouflaged, more informal than abstract figuration that leads to internal jolts and suggestive observations. The painter for a period returns to classical figuration then, over time, receives constant impulses in the family that solves with a series of works on the figure of a certain value. After these valuable experiences, Bottan dedicated himself to reproduction of copyrights, focusing on internationally renowned masters: also in this case you can recognize extraordinary handpainted mastery through a painstaking work and a considerable attention to these recognized masterpieces. The artist, therefore, emerges also in the pictorial reality with an evident ease both as regards the technique and for the wise use of the necessary brushstrokes in this peculiar expressive realities.
Duilio Dal Fabbro
Carlo undoubtedly was an artistic talent to be taken into consideration, flourishing, through the fullness of his style especially after the radical change occurred through the reason of the take away, of the too much and the superfluous, on the compositional structure that was reducing the weight of figuration. The young artist took possession of the painting with a constant growth, which led him on the fruitful paths of art merit from the appropriate tonal skills related. Carlo continued to paint with extraordinary passion, thanks his reason and his work in art, conceived through rather refined solutions with environmental realities of an original nature: the themes proposed were still lives, flowers and some praiseworthy landscapes of the known hilly places.
Too bad that in the most important period of his life, after an admirable maturity achieved, fate did not allow him a career of respect, worthy of his true artistic personality. I, for may part, would like to stress the fundamental aspect, whereby the overall work of Carlo Andrea is the artistic field goes beyond his own accomplishments and I would also say his intentions. Unfortunately, Carlo became ill at the most fruitful moment of his maturity, without being able to eradicate a serious and improper pathology. In that sad period, he drastically refused the exercise of painting and even destroyed part of his masterpieces. Despite these adversities we managed to collect among the various private collections of our territory, some works that are a valid demonstration of the artistic abilities of the master. I am sure that many lovers and enthusiasts will be present at the opening of exhibition, especially friends of the past who will come to find Carlo and his masterpieces, as happened many years ago. Other former middle school students where the professor taught physical education await this event with great gratitude to him.
This melancholy story certainly influenced his nephew Pier Fortunato Bottan, in fact a follower of his uncle Carlo who introduced himself in the artistic field to verify, I think, "a continuation, almost a rather familiar home challenge" to demonstrate his character and abilities "organoleptic-bloody, of a peculiar artistic taste". His initial works were nourished by a lifeblood still immature but significant, it is perceived that the young artist through the study intends to solve the "secrets" to obtain certain technical effects, the way of a brush stroke, the combination of different colors not to disturb the unity of the painting ad a proven style of perception through a refined appreciation that takes it step by step on the further paths of conventional art. The maturation of Pier Fortunato after the proclaimed figurative start, opens to an abstract-informal aesthetic close to the choices and solutions adopted by the Group of Eight gathered around the great art critic Lionello Venturi. Bottan thus moves away from a safe, meditative but not camouflaged, more informal than abstract figuration that leads to internal jolts and suggestive observations. The painter for a period returns to classical figuration then, over time, receives constant impulses in the family that solves with a series of works on the figure of a certain value. After these valuable experiences, Bottan dedicated himself to reproduction of copyrights, focusing on internationally renowned masters: also in this case you can recognize extraordinary handpainted mastery through a painstaking work and a considerable attention to these recognized masterpieces. The artist, therefore, emerges also in the pictorial reality with an evident ease both as regards the technique and for the wise use of the necessary brushstrokes in this peculiar expressive realities.
Duilio Dal Fabbro