PAINTER
PATRIZIO LANDOLFI
Patrizio Landolfi author of ' The Fragmentation '
Dear Patrizio,
I was able to admire your splendid works from life, after having known them in your monograph that you
dedicated to me. To say that you are an artist of refined sensitivity à è something obvious, but to tell you that you have some works of the highest lineage, which I have commented on, especially the one that reminds me of Assyrian culture, for the figurative archetype of the image typically outlined in profile, Egyptian and Minoan Minoan memory. Your paintings exalt the material, consumed by time, the wear of memory, that magical other, with
its calcined whiteness, a message of universal eternity, common to all cultures. brings back to certain poignant atmospheres of a Robert Delaunnay, with his supreme hedonistic harmonies
saturated with orgic abandonments. Thank you Patrizio for the emotions you gave me, look for, for ò, og n day, to live coherently your poetic “Abstract ” memory of ancient, always forward towards infinity.
Your William Tode
(Director of the Uffizi museum in Florence, 60s-70s)
What appears in the ’ immediacy when you are in front of Landolfi's works are the vortex of color and energy that kidnaps you and drags you inside, on a journey through particles and fragments of color where the key to interpretation becomes multiple. In the nineteenth century, in the midst of the scientific, industrial and technological revolution, artists began to consider the problems of light ’with a ’ new perspective ” photography was born, empirical research on light as a physical phenomenon, the separation of color, was deepened , the “pectrum of light ”. For artists, color is no longer just a chemical fact, color is already an element in light itself. The division of color inspires all the new Impressionism, Divisionism or Pointillinism trends. All work on the juxtaposition of small portions of the color particles of light that together excite our perception and make the perceived scene vibrant. Therefore, the subjective search for the mysterious principles of form and appearance also begins in art, but also for the roots of what generates emotion in perception, up to the extreme consequences of Abstract Expressionism where emotion and contemplation coincide in an oxymoron. From Matisse to Mondrian to Boccioni to Rothko to the contemporary Landolfi.
Giorgio Gregorio Grasso (Historian and art critic)
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