THE Voice of Critics – By Licinia Visconti

Guy de Maupassant stated in a couple of occasions, in one of his articles and from one of the characters of his novels, that we are all conditioned and influenced by the world around us – visions, impressions, fears, joys, words, gestures, sounds and silences – but only a few of us, the artists, are capable of extracting these suggestions from the labyrinth of the memory, to present them in an environment, which is independent from their source and is filtered by the artist’s creativity, to give birth to works which, in the creative process, lose the sign of subjectivity to translate into objectivity. Objectivity is the characteristic of art, as stated by Cézanne as re-confirmed by both Maupassant and Zola. The means adopted to express the objectivity are the precious subjective elements which justify the work of painters, sculptors, poets, musicians. They are, to use a trendy expression, the griffe of the creator, the fundamental element that distinguishes Giotto from Raffaello, Beethoven from Mozart, Dante from Petrarca. In other terms, the style, which allows you to distinguish the work different artist, even without knowing them specifically.

If I should present this concept in a conference, I would project the works of Giovanna Magugliani and I would start with her photographs, the subjects of which are part of the material received by her perception and subsequently re-elaborated by her willing of creating art. Equally explanatory is her production of portraits, in which the reality of her models gradually fades out to give space to interpretation, to qualify itself as portrait of expression, which finds its origins in the portraits of the Seventeenth century and that has had great examples also in the Twentieth century.

I do not wish continuing establishing comparisons because the work of Giovanna Magugliani presents an original and important personal nucleus, as it is easy to understand from the delicate and vanishing images of the Transparences, of certain bodies of a young lady, whose closed eyes are the metaphor of a vision of the infinity, or from some of her abstract compositions, accompanied or underlined by titles, which give their key of reading.

We are in front of one artist with important qualities and potentials which are waiting to be fully valorized.

LICINIA VISCONTI, Vice-President of the “Art Movement of the XXIth Century”, and responsible of the graphic and iconographic research of the “Waltmann Art Publishing Italy”.

September 2013

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