|
Eugenio Bertin
Eugenio Bertin is a master of painting coming from far away.
From the experinceof the french painters of the 800 century, from the
need of turning the reality into light: to look at it without falling
in the shadow. He dose not like the opposites, on the contrary, he
prefers those tonali ties expressing whiteness and warmth and alwais
remaining in the same chromatic intensity.
Eugenio Bertin gres back to nature he does not want to reproduce its
reality as in a photograph but he wants to interpret it with his
delicate subjective and emotions. He sings the seasons, the changing
of their chromatic “Miralles“ he beats the time with the magic
richness of his palette.
Each work mirrors the instincts of a contemplative mind. He prefers
the mixed technique on the canvas as in “Al crepuscolo“ or “Angolo
fiorito“ Works reflicting an admirable tension towards the colours and
the intricate forms of nature. In “Ginestre marine“ ne plays with
harmony and he creates a scene in which sunlight is alwais present:
The tonalities of the yellow grill and win the azure of the sky while
a dark blue line taces the horizon from which the infinites is
spreading. Painter of figures as in “Modella“ or painter of exiting
scenes as in the well-made “Venezia: Palazzo Ducale“ with its
melancholic and phantasmagoric atmosphere which captures the look of
the observer as in a spell. Eugenio Bertin is not troubled by reality,
he is troubled by is interest for the atmospheres oh landscapes,
atmospheres which change not only in accordance to seasons but also in
accordance to his heart, a heart which is some times serene as a
morning singing, some times melancholic as someone waiting for an
impossible event or the realization of a dream.
Paolo Levi
From nature to painting
What kind of feeling does an insect have when it digs its hole in the
humid soil? Let us suppose we were in its place. We solud probably
feel like immersing ourselves into nature: warmth, a kind of
protection from the outer side, a feeling of security, and probably
also subtle pleasure. That dark soil slowly becomes “familiar”, that
is it becomes part of our being. We might probably have been in
something like the amniotic fluid which enveloped us before birth.
I had similar feeling while examining the recent paintings of Eugenio
Bertin. On that evening at Preganziol, while the shadows stole towards
the countryside, they were like a friendly shelter to me.
Alternatively I observed closely the painting; than I looked at it at
a distance; thus I turned back about a few centimeters from the
surface. Gradually those tangles of signs, those colour spots, that
matter which appeared to be disorderly and frothy, became friends. I
was slowly entering the “world” of Bertin. And what seemed chaotic was
becoming, as if by a miracle, a sign of order. The order of nature:
the order of a structure that was changing from the mineral to the
organic state. I could even say: the painting was becoming my own
projecton. It belonged to me.
Often, when I talk of painting, I avoid expression of traditional
aesthetics. I prefer to stick to a new concept: that of the
“biological truth”. With the collapse of the odl values, a collapse to
which the modern culture (and not only that of the avant-garde art)
has contributed, what can survive is above all the adherence of the
painting to the organic qualities of its author. In other words: it is
always more iportant to notice that man’s vital lymph, his chromosomes
as it were, link up with the piece of art. It is way of making sure
that those consumer and behavioural models that so massively
characterize our system to the extent of indissolubly autonomous, not
conditioned life. The critic (but I could say: the scientist) must
measure this level of freedom, undrestood as the adherence to one’s
own inner structure, to one’s own self.
That is why the comparison with the insect is appropriate. The true
artist should create the external world (in this case his painting)
according to his own likeness: a projection, as it were, of his
personality. And he should feel at ease in this environment. A
painting becomes the material milieu of existence. After all Bertin’s
paintings resemble silk cocoons made of thousands of gold-plated
filaments, united by an invisible order. It is, I repeat, the order of
nature. Paolo Rizzi
Biographic notes
EugenioBertin was born in Polverara (PD) on the 25 th December 1950.
He lives and Works in Biancade (TV) Via Morosini 5. He attendet the fine arts Academy of Venice, the
free school of Art Ettore Tito, with the guide L. Zarotti and G.F.
Tramontin.
Bibliographi
He is in the Bolaffi National Catalogue of Modern Art n° 13, 14, 15.
Bolaffi Regional Guide of Art n° 84 December 1978, in the big
dictionary “Contemporary Italian Artists” ed. 1979, Dictionary of the
Contemporary Artists 1980, Published by the Accademia Italia
Salsomaggiore Terme.
In the Kunsthistorisches Institutes (Florence) Natinal cataloghe of
Venetian Artists Publisher by Commed of Milan. In the collection
Contemporary Italian Art Published by “La Ginestra” Florence,1987.
In the yearbook Commed from n.15 to 21,and in the catalogue from 32 to
35 ed. Giorgio Mondadori. Catalogue Contemporary Italian Artists, year
1999 G. Mondadori. His Works are the private in public collection of
main Italian and foreign towns: Svizzera, Belgio, Germania, America,
Canada, Lussemburgo, Austria, Australia, Scozia, Francia, ecc.
Bibliographic news about Bertin can be found in the historical Archive
of the Biennale in Venice.
Critical texts
R. Alessandrini – G. Bagni – A. Ballis – S. Bolzan – L. Bortolatto – L.
Brunazzo – E. Buda – E. Concarotti – E.D. Martino – B. De Donà – L. Di
Cuonzo – P.L. Scarpa – P. Levi – A. Madaro – V. Magno – S. Minto – C. Mora
Taboga – G. Peretti – B. Pittarello – V. Rigoldi – P. Rizzi – G. Segato –
L. Speranzoni – M. Stefani – O. Stefani – S. Wailler Romanin. |
|
