Criticisms of art by Bruno Rosada


Luciano Menegazzi is a complete and mature painter, fully aware that a painting, just as a literary text (and he also writes prose very intense, full of sensitivity), can not be reduced to mere form, to what the French school, very mimicked even in Italy, called the signfflant, namely the epidermis of the work, but also that the contents have their importance.

This show has a very attractive subject, Venice, and yet also very dangerous because its suggestions may be too easy, and sometimes false for abuse of conventionality to which the image of the city is subject. It always has been, in the past, but today the excessive tourism has it upset, as well as the conditions of life, even the virtual image.

Luciano Menegazzi, worries then dig into the content of his paintings, to identify, beyond representation, the fourth dimension, ie the history of the subject, be it a building or a glimpse of a character, and then the pictorial organization panel, trim color, the arrangement of spaces, the dynamic of forms, the brightness of the figures, play a special role and the signifier takes on a concrete and real.

The content then also reveals effects and moods details: the tender regret for a city that has seen a teenager and now unrecognizable, and a sort of serene pride of that glorious past that has left memory of him on the stones. It is a sort of direct contact between the moods and events painting, where he reveals all the skill of the artist, who at this point has to deal with a specific problem of visual arts, focusing on the legacy that has left the twentieth century: the relationship, or rather the contrast in the painting between figurative and non-figurative.

Menegazzi balances it easily, first of all operating simultaneously in terms of color and compositional level. In this way he acquires the composition as a working hypothesis on which the free play of colors by an appropriate scaling, and conveys to the viewer the emotions and moods that are collected from the more purely pictorial work. Then does not exclude (or rather, use them often) allusions and references to times of symbolist flavor sometimes a taste reminiscent of futuristic remote experiences.

One more thing must be said, even if it is something that is in the background compared to the solid cultural charge contained in these paintings: that are also beautiful to look at, pleasing and enjoyable. Adequate short aesthetic ideal of our day. Which is good.

Criticisms of art by Gabriella Niero


LUCIANO MENEGAZZI - The soul of a city... the impulse of color

Intense color switching, dynamic harmonies gestural reflections on a timeless legend: Venice.

A magical encounter, the painter and his city. Everything moves: the light flows on the surface, the rainbow hues of the atmosphere, the flow of the passing day, the pace of swinging the lagoon. Borns a dialectic between the time of the story and the pulse that flutters. Note the gentle chimes between the sky and the water, the roar of the waves crossed by boats and illuminated by the glow auroral.

Develops in this way, vivid and engaging, the recent artistic career of Luciano Menegazzi, passionate interpreter of their origins, stories and feel of lyrical evocation of places and symbols of a reality transformed by the references of the indelible memory. Characters emerge from the past, the traveler Marco Polo, the mercenary Bartolomeo Colleoni, the emblematic figure of Carlo Goldoni, true voice of a city in the delirious splendor of decline. Presence of humanity wrapped in the myth of beauty but also by the implacable destiny that draws every corner toward the melancholy.

Luciano Menegazzi paints this moment full of emotional implications with fleeting impressions that come to life in vivid colors, bright, deliberately materials. In the gesture sinuous and full of thrills recognize Venice and its lagoon, traditions never forget the magical reflections of sky and water. The expressionist temperament we find in many issues known and loved: the Grand Canal, Piazza San Marco and its Basilica, the Doge's Palace, icons extraordinary suspended on a flooded forest.

The painter is there, pure and free from stereotypical conventions for us to live even the suggestion of the charm, the vision of a sensitive daydream which there is an emotional concept of reality, that adheres to a declination "fauve" which lies vibration mood of the theme... Every picture is a page from a diary which is enriched with emotional moments. The themes take from time to time the contours of an image in the mind of the painter, it seems increasingly clear and indelible in the breath of a city whose Luciano Menegazzi Serbian moods, enhancing its triumphant soul and at the same time the decline.

Time passes inexorably, the loyal subjects leave the queen in the distance a gentle whispers slowly, veni etiam... back again.

Article on Arte.go by Francesca Brandes


Luciano Menegazzi: "Venetian routes" - CLICK HERE to read the article, automatically translated by Google.