OMAR GALLIANI’ S FIGURATIVE ART BETWEEN RENAISSANCE’S REMINESSENCE AND VIVID CONTEMPORANEITY PT1
The most valuable definition of Diaphaneity, embraces a precious, unearthly delicacy, mostly associated to an alabaster transparency: fragililty,
slimness, are the synonyms which go in parallel with the description of this ethereal state who puts the Artwork in a world linked to the
Metaphiysical Dream.
Certainly, this is what we think when we talk of ‘ leonardian evanessence’ in relation to the graceful heads of angels and madonnas the vast
production in pencil and ‘ biacca’ of the ‘ Magister’ of Vinci has rendered us: without the technique of the soft dissolution of the paintings,
obtained through the use of fingers or with a piece of cloth or, in the end of the execution, with a slight and homogeneous veiling of colour in
the binder with the meaning of softening the features of the faces, it wouldn’t be possible to give to the observer the dreaming chimeric effect
of the diaphaneity.
It is an immense work: but we were in the XVIth Century, and thinking of fixing the Spirit on paper or canvas, was still possible. Closed that
Season of the Beautiful Drawing, the Beautiful Line, of the ‘ Beau Geste’ after centuries of sublime pictorial technique, the XXth Century has
projected us in the Abstract Art: first of all, the Christ figure dissolved from the chosen themes, and from then on, saints, madonnas, angels, till
arriving to men, have given up their places to the most total absence of line, of silhouette.
A catastrophe for what in Italy was called ‘ La Bella Maniera’ ( The Beautiful Way ): since then on, it remained orphan, assisting to the inevitable
decline of the Figurative Art in its whole, even in Nature and in the Landscapes.
For this reason, it is with great emotion that this exhibition, with the entire ‘ Opus Magna’ of Omar Galliani, is cherished and acclaimed by the
person who is writing: it was since 1500 we couldn’t see anymore the angelic line realized with the leonardian evanessence, and that this event
is happening in the anniversary of the 500 years of the death of the Genius of Vinci, is to us quite a Sign.
Art is passing through a phase of acute crisis, in which the dominant rules after Fontana, or after Warhol ( ‘ Art is Businness’, said the patron
of Studio 54, when he silk- screened in a serie his Marylins, or his Edie Sedwicks ), entered in a descending trend: we think that public soon,
searching for a refugee far away from the economic crisis, will be happy to see again the Return to the ‘ Bella Maniera’ ( Beau Geste ), to the
Beautiful Apollonian, to the Veritable Art technique, realized without resorting in low- level oddities or artifices: then, the recovery of that
lesson which belonged to the Sublime Classic in Art, worked by Maestro Omar Galliani, will reward him even more than what the critic or the
Uffizi Galleries, which hosted a catalogue on him in 2018, could do.
01.02.2022
slimness, are the synonyms which go in parallel with the description of this ethereal state who puts the Artwork in a world linked to the
Metaphiysical Dream.
Certainly, this is what we think when we talk of ‘ leonardian evanessence’ in relation to the graceful heads of angels and madonnas the vast
production in pencil and ‘ biacca’ of the ‘ Magister’ of Vinci has rendered us: without the technique of the soft dissolution of the paintings,
obtained through the use of fingers or with a piece of cloth or, in the end of the execution, with a slight and homogeneous veiling of colour in
the binder with the meaning of softening the features of the faces, it wouldn’t be possible to give to the observer the dreaming chimeric effect
of the diaphaneity.
It is an immense work: but we were in the XVIth Century, and thinking of fixing the Spirit on paper or canvas, was still possible. Closed that
Season of the Beautiful Drawing, the Beautiful Line, of the ‘ Beau Geste’ after centuries of sublime pictorial technique, the XXth Century has
projected us in the Abstract Art: first of all, the Christ figure dissolved from the chosen themes, and from then on, saints, madonnas, angels, till
arriving to men, have given up their places to the most total absence of line, of silhouette.
A catastrophe for what in Italy was called ‘ La Bella Maniera’ ( The Beautiful Way ): since then on, it remained orphan, assisting to the inevitable
decline of the Figurative Art in its whole, even in Nature and in the Landscapes.
For this reason, it is with great emotion that this exhibition, with the entire ‘ Opus Magna’ of Omar Galliani, is cherished and acclaimed by the
person who is writing: it was since 1500 we couldn’t see anymore the angelic line realized with the leonardian evanessence, and that this event
is happening in the anniversary of the 500 years of the death of the Genius of Vinci, is to us quite a Sign.
Art is passing through a phase of acute crisis, in which the dominant rules after Fontana, or after Warhol ( ‘ Art is Businness’, said the patron
of Studio 54, when he silk- screened in a serie his Marylins, or his Edie Sedwicks ), entered in a descending trend: we think that public soon,
searching for a refugee far away from the economic crisis, will be happy to see again the Return to the ‘ Bella Maniera’ ( Beau Geste ), to the
Beautiful Apollonian, to the Veritable Art technique, realized without resorting in low- level oddities or artifices: then, the recovery of that
lesson which belonged to the Sublime Classic in Art, worked by Maestro Omar Galliani, will reward him even more than what the critic or the
Uffizi Galleries, which hosted a catalogue on him in 2018, could do.
01.02.2022