vincenzo cignozzi
08 Aug 12 by vincenzo cignozzi
vincenzo cignozzi artworks
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There were many things I wanted to express through this trifling image.
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There were many things I wanted to express through this trifling image.
Agave among ruins
A journey to Sicily
The other side of Givernys bridge
How many times did Monet looked from this side ?
A stream in the wood
250 € + expedition cost.
marathon
Why i dont like it ? Rush where ? Meanigless
Couple
Two 30x30 paintings I would like to be framed together
06 Feb 13 16:52
Well well, what have we here? An Italian answer to Hanjo's German question [LINK]? I sure would be intrigued to see some more development along these lines - the build up of a pan-european figurative dialogue.
07 Feb 13 09:54
You do me too much honour to approach my small boards to the amazing Hanjo's works.
Though, i agree with Hanjo's comment to its work representing a couple naked but without faces.
Here i had in mind to represent the woman's mischievous approach to the man.
New year's eve
A bonfire, a glass of champagne and a small candle to toast to the new year.
Louvre visit
A group of americans girls admiring the Pietà d'Enguerrand d'Avignon at the Louvre
Shutter
I was struck by the beauty of these articraft and I wanted to imagine to have it at home.
05 Mar 13 06:03
This work speaks of two very positive aspects of Italian life for me - a love of meticulous craftsmanship, and the sunshine.
I don't think the gold (that's what it looks like in this photo) frame helps by attracting the eye away from the main feature of the light tumbling into the window space. A wide walnut colour would work better than gilt, in my opinion. There's no need to make a fine painting like this seem more "precious" by adding gold when it stands up quite well on it's own merits.
Complimenti Vincenzo - I'm sure this works gives you much pleasure, if indeed you have managed to keep it in your home.
Still time
Durer hare, a snail and a ssbb swiss watch express my feeling of a standing time
open air
The painter does not care about the beautiful landscape but to his old Fiat "Topoino 51" car.
Rain Forest
Experimenting the pleasure of details
Tea break
I composed objects referring to an imaginery ancient middle east atmosphere
The reader
The lady is sitting on a balcony in a mediterranean afternoon. The windows glass reflects the sea landscape.
Autumn
Expressing regret of an ideal through a still life
Niles market
from a foto taken on a Nile cruising boat
Orestes pursued by the Erynies
The painting has ben taken from an old print ( see studio Log) . Orestes was haunted by the Erynies because he had killed his mother Clytemnestra
White waters
Should i go on painting it ?
26 Jun 14 03:47
Unusual subject matter Vincenzo, and handled very well. Oddly abstract in a way, all that rushing water with those canoeists bobbing up and down, and the solemnity of the rocks acting as potential danger but also a point of refuge. To answer your question, to my mind you've completed a very interesting painting, and no need to overwork it at this stage. Complimenti!
26 Jun 14 08:30
Thanks for the appretiation and glad you are present at art process.
27 Jun 14 05:53
It's a good allegory for life, especially that of an artist. Battling against the flow just to stand still most of the time. Nevertheless I find your work optimistic - they do seem to be making a labored yet colorful headway, despite the raging current. And unlike the artist is her/his solitary way, your subjects appear as a team.
I hope sometime at artprocess we too assemble a team to go fight together upstream against the rushing whitewater that is today's art business.
Farfalle macaon
I found the photo on internet. Loved the shadows and the details. So I have painted it.
Italian landscape
The hilly landscape of the Marche region
Lycaon
See Ovide's Methamorphoses Book I. In my imagination many of us are hipocritical Lycantropes
Aracne
Idea about Ovides' metamorphosis
04 May 15 21:28
Haha!!! Please forgive my absolute ignorance of Ovid, but when I saw this painting I thought man that's exactly it - you get lured in and bam! you're trapped in her web... and it'll take 25 years or more to escape, even if you do manage to muster the strength after all those years.
It's too good this painting - I'd never have had the balls pull a work like this off (quite indicative surely).
Thank goodness however, for Vincenzo and the classics.
La guerra
!917 Montecatini terme in Ottobre Caporetto
Picasso and others
The paint in the paint is a copy of a Picasso painting . I got it as a starting point of my own but other artists influence it. Discover them
après midi d'un faune
Hearing Debussy I tried to imagine where the "faune" was and what was he doing
KRKA FALLS
Ink drawing on acrylic underground, based on a photo filtered by computer.
Groane Park
Autumn in the nearby park
aquarium
Fresh water fishes
Retro
Trompe l'oeil: the back of a non existing painting (retro).
23 Nov 16 23:09
How interesting! A painting of a painting seen from the rear. Che bello. And what´s more, it´s got a nice big fat red sold sticker... Good Job Vincenzo.
Now I wonder if anyone would be interested in discussing the possible meaning of this work?
Why would the artist hide the actual painting from his audience? He says that it´s a non-existing painting, but would it exist if it were painted from the front? What does it mean to paint a non-existing painting? Is that statement a riddle, or a contradiction in terms?
And can painting something bring that something into existence? The painted painting - but which one is the painting? Haha...
Anyone?
25 Nov 16 16:21
Thx for the comment,
I may say that this work seems to irritate the people. Exposed during a local art competition did not even receive a notation, a friend of mine having seen the photo and thinking it was real, wrote he was glad I entered the art of installation, a friend painter told me i could spend my capabilities doing something else, another friend asked me :"WHY did you did it?".
The "NOTHING" is disturbing
Venice
San Barnaba Bell tower seen from Cà Rezzonico
Fading life
Life fades towards the nihil
04 Feb 17 21:27
At first Vincenzo, I thought rather tongue-in-cheek I'd quite like to end up there at your 'nihil' of beautiful naked woman with flowers in her hair, enveloped in a swirl of primary colour.
However I reckon this painting is more serious than that, and has probably to do with the vibrancy of youth, and it's inexorable fall into the gaping chasm of time with blackness awaiting at it's end. That's a pretty bleak prospect that I'd prefer not to contemplate too deeply however, and I'm more interested in asking you the following: As artists, do we have a role or a duty in our lifetime? If we do, what is that role, or that duty? Do we as artists have important responsibilities other that just seeing out, as best as we can, the descent into nothingness as depicted in your painting?
05 Feb 17 06:30
Hiya Paul,
No, I don't think you do, not as artists, nor as any other titled pursuit. Roles, and duties are acts that are only meaningful if you believe they are. In the same way, if a mathetician knew how to reconfigure all the derrivations that ultimately equal 360-degrees, and in so doing discovered a more plausible explaination for all this, I don't believe it would be her or his responsibility to inform anyone.
05 Feb 17 12:31
Hello Gigi great to see you here. I thought Vincenzo and myself were the only ones left standing at artprocess - all the others having long ago abandoned the sinking ship.
Back to the painting entitled "Fading Life" with the artist's comments being "Life fades towards the nihil". The youthful splendour of the subject staring grim-faced, splay-handed, as she precipitates uncontrollably towards the night. I'm wondering if the redeeming quality, if there is one, are the colours of the descent itself. And it's exactly there that I'm curious to listen to your (and Vincenzo's) thoughts on what, as an artist, you consider valid (and consequently invalid) engagement during the fall. Can you do anything? If you can, must you do something, i.e. do you have an obligation to act? And if you do, how best to undertake and perform that commitment?
Your mathematician friend has discovered an improved understanding of the law that describes 360 degrees. I believe you infer that he is not duty-bound to divulge this, and of course you are correct. On the face of it, his new way of seeing does not change the agreed convention, it is just the process of obtaining it that is new. Could I counter with the idea of opening a door, previously unknown, behoves the finder to inform of it's existence through a simple requirement of diminishing our ignorance, even if it opens on already familiar territory? Is it right for your friend to keep his secret to himself thereby risking the possibility of enhancing, in some small way, a collective awareness and appreciation of the colours as we plunge to the depths?
Quite dramatic I agree, nevertheless it is probably the artist's intention, by virtue of this work, to provoke somesuch.
05 Feb 17 17:31
Hi JP,
As it regards the painting, I wanted express the feeling of sadness for the death of a person (not a woman and not young) without resorting to the usual clichés .
On the other hand I think that the artist has not a duty but fills a role . Back to the mathematical example of Gigi : the scientist or researcher of any field has no responsibilities about what he finds but fills the role society ask of him. The artist, often unconsciously, mirrors some of the inner feelings of the viewer and when he succeed has filled his role.
08 Feb 17 21:53
Ah.. then I apologise. I thought the painting was perhaps a visual philosophical metaphor on the issue of life and death, but from your words, it's possibly more a reflection on the impact of the pain you personally felt at the abrupt loss of someone dear to you.
Did the act of painting, and the resultant work help you with coming to terms with your loss?
Despite the redeeming swirl of excited colour, the mask-like face and her accusing stare as she appears to begin the fateful descent make this a most sobering and solemn pictorial statement. It's as if we must feel only anger and resignation in the face of Death. Is that what you intended to convey?
09 Feb 17 00:44
I am sorry for your loss Vincenzo.
I think you have captured how your sense of loss felt in this picture. I don't see the anger, or the accusing stare Paul speaks of; I see the loss, and what that loss must have felt like for you. It looks as though, from the expression on the figure's face, that s/he didn't expect to die at that particular moment. I also see a saddness/bewilderment over the realization (yours? her/his?) that what you had together is now ended. I agree with you Vincenzo, when you ssay that the viewer projects their own feelings onto the picture. That's what the Rorchach Ink Blot Test is all about--projection. We interpret everything through ourselves, and we project ourselves, our reality everywhere, whether it be interpretation of an image, or the probing of science, and everything in-between.
09 Feb 17 11:39
Thank you both for the deep comments .
I have submited the photo to some friends and every one has expressed his/her ideas (does the girl come forward or backward; the abyss is like a flower or something organic ? ) as Gigi says, everyone has mirrored his/her feelings. Did I fill my role ?
09 Feb 17 22:47
Although it is indeed intriguing to read of your success in mirroring multiple and varied inner feelings of the viewer(s), I am really more interested in the artist's relationship with the painting, and should wish to learn more regarding the choices and decisions that were taken during the creation process, for example:
1. What where you considering before you began the painting?
2. In avoiding ¨usual clichés¨ (sic), why did you choose this female subject?
3. What motivated the selection of colours and forms of the background?
4. Did you encounter any difficulties during the work, and (if so) how were they resolved?
5. How long did it take to complete?
6. Is the resulting image as you had imagined before you began?
7. Are you satisfied with the work, and why?
My apologies for the interrogation list! However were I to visit your studio, these are the kind of questions I would be putting to you in good faith; eager to hear the response of the artist. I hope you´re not deterred by my being so forthright, and that you do decide to dedicate a few minutes to speak in more detail on your artwork.
18 Feb 17 16:47
I try to answer to your interrogation list:
1 “The Death” is a substantive and it is usually presented as an alive skeleton with a sickle , sometime riding an horse, ( think of Durer Death and the Devil) whereas I consider it an event or a process strictly connected to life.
2 In Italian the term Life is “Vita” and is feminine and I think that it fits better to my beliefs than the neutral term ( Das Leben )
3 The main idea was something going from warm to cold colours up to the absence of colour: the black. The form should be an organic abyss.
4 The main difficulties came from the background and I do not think to have solved them entirely.
5 I work quite slowly since I do not need to spare time, so I did not count it.
6 Not entirely but near to my expectation.
7 I am never completely satisfied with my works but I am glad if I succeed to transfer at least a part of my feeling to the viewer.
winter wood
A sunny late winter day. Ice start to melt.Nobody around( we shallsee)
03 Apr 17 19:29
Bravo Vincenzo... sei l'unico che lavora!
spring
Spring time
Neo barocco
A swedish tourist visiting a Roman palace (Doria Pamphili)integrates herself so much in it that she appears to be part of the barocco decor
L'autore
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