Transcendence and existentialism in art: a dip in the artistic practice of Adriano Gentili

I meet the Maestro Adriano Gentili, artist, painter and designer. In his works there is a lot of women in his pen drawings with great sensitivity exceeds all the rigors and free form and its individuality. His soul draws near to the dreamy visions expressionist Jungian and transcendent art today, beyond the rational capacities. All known forms and yet to be invented when through them the human being transcends his condition finiteness of material to show his immortal dimension. The artist in his works, maintaining its identity and open to live content and acts, does not come from himself or enter into himself but simply moves himself to himself. Adriano Gentili has created countless works, at every stage of her life since a very young age, with a continuous inner search.

We speak to the Master, himself or “us”, expecting soon to see them live in his solo exhibition at the Museum Foundation Venanzo Crocetti 2 to 22 March 2017 Rome …

1-Painter and especially designs for a lifetime. You’ve created your own very personal style full of fantasy, give us details?

My works are essential. Today there is a problem of anachronism. Barilli said: to me the perspective I much prefer that fascinates the artist circles in himself a certain transfiguration and not only an optical vision. For reinventiamoci series. In Cezanne I love his research in what concerned the geometrical elements of the form. In De Quirico, I was inspired by his mannequins. In these forms of geometric type I can not grasp the sweetness and passion of women. In fact, I feel close to the sensuality painters.

2- What are your feelings when you draw women?

The design is liberating, go freewheeling, mine is a constant search. Taking up the theory of Schopenhauer soon wonder why you talk of catalogandola woman in categories and rationalization? but the body, which we do with the body? I speak of the woman’s body with his emotions his somatization, positive and negative side, with all the research of a new world that lies in the ‘800 /’ 900 with great artists who are interested in women and much more appear naked . Previously the nude was added to mythological theme, so the woman was sweetened by mythology. In 800, finally the painters open to the bare, in a new dimension. I am a speaker of the unknowable. For me it is a ulteriority where he takes on the feeling mechanism. I paint and drawing beautiful women sometimes witty, always leaving the riddle.

3-How did this desire of the pen drawing in pen and ink on paper?

I wanted to try to draw without clearing first but not to exhibit a particular technique or skill. It stems from the fact that when I drew with pencil or charcoal macchiavo me, are clumsy, when I was little and I went out with my friends when I was the only one who took a cone sporcavo me everything. I searched and found the ballpoint pen that does not dirty, it is clear, linear non-staining. Now use well the ink pen, I love to draw jet without having to delete. I find in it an expression imaginative, lively and quick because I love the simplicity.

4- The female figure and very sensual, is present in almost all your works, why?

Why care about the woman’s movement, I’m interested in the various positions. I love the mystery and ambiguity of the woman. Many painters, like me, have described through their works in the past years. A deep and bored woman who brings with him a wealth of experience and sensitivity and elevates it to a higher step.

5- “Visions dreamy almost Jungian” you like this vision? How if and how did you find yourself?

I feel a bit ‘Jungian and not only to the ability of imagination and interiority. To open up the sensitivity and the expression of the unconscious. I really admire his student Carotenuto for what he has given me reading his writings and all connections with the artists and philosophers. I think that the woman should be handled through the feeling, the word, the taste, the mystery. It ‘a little’ what I want to share through my works. If you do not discover the mystery, do not grab the full being ambiguous.

6- Do you know the art-work when a meta-aesthetic can correct your conscience, because of its beauty- I would say that your works are very close … the Art Today it is for you?

Art, like music, is something that holds much company, especially nowadays where it is very difficult to talk to people. Painting helps communicate.

7- In your mannequins, very sensual and feminine figures in motion, there is a lot of humanity?

I wanted to move as part of the decomposition. I created dummies mostly women, say not metaphysical but human. Reflect the society of our time, but simple and sensual are linear, are on the move, forms of desired transcendence. Perhaps one of my characteristics. Breast becomes a circle, the hair lines and more … forms of transcendence outside by certain patterns.

8- architectures or design?

For me is a love for the unconditional drawing and has often helped me to get out of difficult situations. I have been influenced by the lines and compositions architecture course. I’ll tell you while teaching students to architects who had to pass the state exam, I noticed a greater interest on the part of women when this graphic in a broader context from the historical and cultural point of view, that’s why the women for me are highly important. So my view is that the woman is much more sensitive.

9- your next projects? Tell us …

I am writing a book with a colleague, I want to prove that beauty is not the media but the woman is important and beautiful especially through the interior. Not everyone has the tools to notice the beauty of the interior, that perhaps only at a certain age you can appreciate. Like coffee from small it is not appreciated, but it matures over time. A certain kind of beauty can be appreciated over time. Women need to understand that must search inside them and also through the women of the past and beyond. The beauty to be found at the individual level in the interiority, poetry, emotions and love. Women today are very sensitive, in my paintings are women of mystery.

10 The transcendence of art?

I am a defender of the transcendence in art, criticizing thus going beyond metaphysics. I feel very close to the ideas that speak of transcendence existential as the foundation of freedom. There are more questions than answers, here’s the mystery. Many men lose their best.

The Ehibition, Elogio dell’immaginario | Adriano Gentili > Museum  Venanzo Crocetti

the project shows of Adriano Gentili is materiality relevance, a praise to beauty and women, first of all, provides an instructive and informative exploration of his painting in continuous dialogue with himself and with life around him, inspired soul and its mystery, which is in itself a true aesthetic revolution metaphysical expressionist. He speaks of human interiority. Through the Arts is shifted our attention to the consciousness-unconscious dualism, just the artistic intention want to translate into images that is based in our unconscious.

The artist: Adriano Gentili, illustrator artist and painter born in Rome in 1942, where he still lives and works. E ‘degree in Architecture at the University of Rome. He has the requisite qualifications for the teaching of design at the Academy of Fine Arts in Rome. He taught drawing in high schools, in the Academy of Fine Arts, in addition to Graphics Architecture and History of Architecture, in collaboration, in Rome. E ‘author of several publications: “Michelangelo – opera analytical breakdown”, published by Trevi. “Practical Guide to architectural design” published Maggs. “Residential Types ideas and projects” and “Types of Architecture” Kappa Edizioni.

He held various solo and group exhibitions in Italy for graphics and painting obtaining consents from critics. His works, including drawings and paintings are part of private collections.

Praise of the imaginary search for Adriano Gentili
with critics text by Robertomaria Siena

Organization: Art & Communication

Opening Thursday 2 _march_ 2017_ @_18.30

Museum Foundation Venanzo Crocetti
From 2 to 22 March 2017
Via Cassia 49,  Rome

Free entry – ​​

Museum hours: Mon-Fri 11 -13 and 15 -19 – Saturday 11 -19

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