THE LYRICAL PLANES OF GIULIO D'ANNA PT.1
Giulio D'Anna has a taste for experimentation in his DNA and is fascinated by the modernity of the plane, characteristics that make him one of the most interesting interpreters of Italian aeropainting.
Very much appreciated by Marinetti, he crosses all four strands of aeropainting as a convinced futurist as he is, looking only at the master traits Prampolini and Fillia, because in reality he is very personal, essentially Mediterranean.
His airplanes in flight are loaded with all the chromatic facets, which the sun, sea and hills of the Straits suggest, leading him towards lyrical spatial abandonments, typical of his contemplative nature: attractive "colorful whips", as they were defined in 1933.
His cosmic sensibility and at the same time his playful taste, the joyful fascination of the infinite lead him to almost obsessively idolize the icon of the plane in his figurative encyclopedia, making him dedicate most and best part of his pictorial reflection, even if then varied over time is his iconographic catalog.
In his landscape paintings, in which sea and land are crossed by red, yellow, green and purple planes, which weave playful competitions, revealing all the joyful fascination of infinity, in which the trajectories of darting engines transfigure reality by animating a changing perspective polydimensionality.
The panoramas merge and open new directions, which are the fault of the imagination, in an effervescent crackling of curves, undulations, straight lines.
Emblem of cosmic dynamism, D'Anna's plane more than vitalistic force is an instrument of figurative perceptions and moods, filtered through the skilful use of color and the domination of detachment from the ground, of free and light hovering through the air in a hug with the cosmos.
In take-offs, landings, grazing flights, ocean crossings, from above, trees, houses, hills take on miniaturistic dimensions in a coloristic kaleidoscope, which has subtle naive references and looks at the figural and chromatic lesson of Balla and Depero, but with an entirely Mediterranean conjugation
Text by Anna Maria Ruta
07.09.2021
Very much appreciated by Marinetti, he crosses all four strands of aeropainting as a convinced futurist as he is, looking only at the master traits Prampolini and Fillia, because in reality he is very personal, essentially Mediterranean.
His airplanes in flight are loaded with all the chromatic facets, which the sun, sea and hills of the Straits suggest, leading him towards lyrical spatial abandonments, typical of his contemplative nature: attractive "colorful whips", as they were defined in 1933.
His cosmic sensibility and at the same time his playful taste, the joyful fascination of the infinite lead him to almost obsessively idolize the icon of the plane in his figurative encyclopedia, making him dedicate most and best part of his pictorial reflection, even if then varied over time is his iconographic catalog.
In his landscape paintings, in which sea and land are crossed by red, yellow, green and purple planes, which weave playful competitions, revealing all the joyful fascination of infinity, in which the trajectories of darting engines transfigure reality by animating a changing perspective polydimensionality.
The panoramas merge and open new directions, which are the fault of the imagination, in an effervescent crackling of curves, undulations, straight lines.
Emblem of cosmic dynamism, D'Anna's plane more than vitalistic force is an instrument of figurative perceptions and moods, filtered through the skilful use of color and the domination of detachment from the ground, of free and light hovering through the air in a hug with the cosmos.
In take-offs, landings, grazing flights, ocean crossings, from above, trees, houses, hills take on miniaturistic dimensions in a coloristic kaleidoscope, which has subtle naive references and looks at the figural and chromatic lesson of Balla and Depero, but with an entirely Mediterranean conjugation
Text by Anna Maria Ruta
07.09.2021