Press - Eugenio Amadori

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<... Goes with the constant passionate about a vitality that seems to know no pause ..... then he can easily collect the stretch physiognomic and improvise a gesture, such as a light or absorb to comment pictorial objects of an environment >.

Luciano Bertacchini: Gazzettino Emilia and Romagna, RAI Bologna February 18, 1958

<.... Work that demonstrates mainly the frank provision of Amadori and his qualities as a skillful and graceful interpreter of nature ...>

Duilio Curir: Il Resto del Carlino, Bologna February 25, 1958

> .... Captures not only facial features, but gives the work its characteristic look of the character with instinctive skill and seriousness of intent. The Amadori like to combine the music to painting, innate passion from which it draws the sensitivity and strength to conceive and execute the painting in all its developmental stage. Music and painting are therefore an inseparable aspect of the personality of the talented painter Romagna ...>

Elio Jacchia: Moment Evening, Faenza June 11, 1960

> .... Paintings by Amadori may please the refined tastes like the simple, excels where this artist is there when you stop to catch the expression of a human face: giving to the subject an animation that creates communication ....>

Emma Placci: Il Resto del Carlino, Faenza June 12, 1960

<... In all his works is force and inspiration hot ...>.

Giorgio Ruggeri: Il Resto del Carlino, Bologna January 30, 1962

<... Musician and painter. And 'what we need to know, because we can not separate these two aspects of his personality. He spent his busy day alternating between passions, integrating in harmonious union and ordering something to stimulate rhythms, make the external reality takes in Him precise value in individual arrangements of lines and sounds ....
For the portrait ... has a particular penetration because not only captures the facial features but manages to infuse the work the sign of interiority>.

Ferdinando Silva: From the presentation of Faenza Show February 14, 1962

<.... Expressed a deep thought and a keen sensitivity, using a technique that uses a palette of soft colors that infuse the soul of the visitor a sense of quiet stillness and calm serenity.

The Bazzocchi: Il Resto del Carlino, Cesena August 31, 1962

<.... Is a poet, and feels intensely the subject; grab the image and is quick to fix on the canvas with color expressions and quick sign of his brush, lines that in some cases may at first seem confusing, but that turn out on closer look carefully construction, so as to make the subject appear clearly legible ...>

Amilcare De Giovanni: The Voice, Cesena September 9, 1962

> ... The paintings, more or less large plots, often leave reveal their original form, that so servr to make a special atmosphere and unique aspects of the natural world, from which the artist draws his subjects, with the effect of fine invention ..... The faces that are gathered for portraits or nudes, the Amadori is a scholar and discreet together, does not transcend the limits trying to make it more pleasing in tone, an environment, a sound, because it must be stressed, in the works of Cesena, is can detect just a deep layer of musicality ....>.

Peter Gonelli: Il Resto del Carlino, Pesaro October 25, 1962

<... We say it openly, Amadori is an authentic painter, his brushwork is broad, fluid sound. There you see and you hear, it seems, the musician as he is. Agreements opal, azure, gray-golden color on the gray slightly veiled sulfur ring and trillano the yellow cadmium vermilion. Leaving exquisitely musical works, from which the leap "figures" the pictorial portraits, nudes, landscapes large, the other views, such as indoor raised, prompted by deep agreements counterpoise. Beautiful things, legible ...>

Luigi Pasquini: Il Resto del Carlino and the Future of Italy, Rimini November 24, 1962

<... It is clear the validity of the factor interpretation relaxing in elegiac tones ... mostly expressed in a personal pictorial language the soul of those who can understand the nature and taking in the most beautiful ... and placed in the portrait expresses a 'intense psychological research effectively made.
The thing I prefer to observe is the Amadori seriousness of purpose with which the artist approaches his art with no false purposes for the need to express what he thinks with an immediate impulse and momentum beyond any rhetoric exteriority>.

Raffaele Turci: Il Resto del Carlino, Forlì January 10, 1963

The portraits are an essential part of the art of Amadori, affect the accuracy with which the characters are identified by a common capacity for psychological insight, in the part of the elegant design and consistent adherence to the character, creating an atmosphere rich in meanings and allusions, characterizing the unmistakable subject.
Even in such cases the brush is not looking for a way immutable, but it bends to the needs of the person represented, now speaks with force, now dipping everything in mild atmospheres.
for these qualities, the aAmadori, is considered one of the best portrait painters in Bologna. And now that the art of portraiture is curated by a few artists for the difficulties involved, it is truly remarkable.

Henry Grace: From the presentation of the exhibition in Naples, December 1963

<.... He says his personality paying his figurative of the Strict Observance, its own emphasis, emphasizing coloristic a decision to stop sobriety, resting on land and gray, or treating the figures according to a set-twilight and expressionistic ... .>

Carlo barbers: The Morning, Napoli January 2, 1964

<... A modern spirit with a lively figurative clear that draws inspiration to nature in this synthesis is the artist's personality, that knows no boundaries of his own conscience, and this painter and continuously guided and driven .... It is in every day life a thoughtful and intelligent temperament, even in his painting that he brings this quality psychologically studying his creations in a conscious abandonment to his inner vision. This is how his portraits with figures well characterized and its landscapes animated and alive, especially those that depict, with light touches of the brush, the Emilia region in view of various colors that tell wonderful days above or gray fog, the nature of which sweet restless and tumultuous appeals to the artist in the dominating feeling .....>

Aldo Angelini: The Daily, Naples January 28, 1964

<... This is a true artist, that even with the modern sensibility operates in the name of tradition, by appropriate means to the feeling of a painting is efficiently sober in tone warm and deep, flowing brushwork, spontaneous, immediate in the heat where here and there means the stamp of a red, a yellow, a green that harmoniously blends poetic atmosphere that reigns in his landscapes, figures, nudes, flowers, in various images, we seem to listen to music remote intimacy poetic vision, or imagination of the things that makes in his paintings hint at the emotion of color in a single color .... Summary>

Alfredo Schettini: Courier of Naples, Naples January 30, 1964

<... In his works there is a painting disegnativamente well built, with a personal interpretation of tonal color-clean. Amadori and modern piano because it has a modern sensibility revealing some anxiety of motion and space. His work is a speech-reaching, intelligent and controlled to measure ...>

A.F.: The Nation, Livorno January 25, 1964

<.... The figures, landscapes, seascapes, still lifes dell'Amadori all testify to a strong quenching of the artist and never a mere exercise in painting, led to Livorno testimony of a warm feeling bold and current measured at the same time, and interpretation of rich tonal values ​​tenua lyrical even with difficult ruled game. Skilled not to say arrogant designer, safe and experienced manufacturer, already above all obligations and technique, the Amadori has the gift of an inexhaustible, that his rich sensitivity knows very well use ....>

Luigi Servolini: The Telegraph, Livorno February 8, 1964

<... His paintings deserve to be looked at carefully because it give us an almost lost, sweet and light of nature, without falling into the solutions of an academic nature .... His painting nothing reveals that the passion of the artist immersed in the reality and nature lived in the breath in the light ...>

Aldo Borgonzoni: From the presentation of the exhibition in Milan, April 1964

<... The painting is of extreme Amadori ties with Italian painting tradition, in an ongoing relationship with nature, with things, with people, with its autumn colors ..... Isolated from a personality that continues on its way without being distracted by pseudo innovations or innovations in these works feels the love that Amadori feels for pure painting, Painting in itself ...>

John Guadalupi: Corriere Lombardo, Milan, May 3, 1964

<... The tone color ranges results in dark and intense, the vein is fast, smooth, the sign says so instinctive and urgent. Eugenio Amadori lived some time the South Africa, diligently participate in the life of Italian art. Well known as a caricaturist, especially with regard to the characters of the world music ...>

Luciano Bertacchini: The Future of Italy, Bologna September 11, 1965

<... Shines through the building which is always solid and secure, and that embraces a panoramic view, a strip of hill, whether it addresses the issues of anatomical figure where, really, the Amadori the master to the touch and easy, broad brushstrokes that reveal a great safety of the means of expression and a marked sensitivity ...>

Guido Ricciotti: The Future of Italy, Rimini September 15, 1965

<... The figurative amadoriano seems transfigured in a impressionism which captures, in addition to movement and assembly, a feeling, a particular time, an intimate voice of things and characters. This expressive possibility creeps slowly observer that the joy before watching because the speech is flat, then to discover the values ​​poetic art that the artist deep in all his works ...>

D. Horses: Il Resto del Carlino, Rimini September 22, 1965

<... A painting of the Amadori, smiling and mischievous, fast, festive and light.
He musician and painter, he uses the same skill with the bow and brush with which follows a message of freedom of artistic expression, the bold statement of feelings in a language of immediacy and vibrant improvisation. The deep suggestion, carrying his portraits, dignity at the thought of the characters in their own truth balanced between reality and ideality, the unspoilt beauty and pure path of thin emotional vibrations that make it alive is natural, not only harmonious measure faces of forms, but emanations of the feeling of a painter that animates and gives life whatever he paints: without the heart can not be art because art is an expression of religious sentiments.

Leo Rubbioli: Official Emilia, Modena, Italy February 24, 1966

<.... The recent production of Amadori is played, not without skills on a range of predominantly earthy tones, such as a composition performed by a virtuoso abandonment on one string, which must be accepted for the intrinsic pleasure .... Note spontaneity and sincerity sorgive.Amadori ranks, with propriety and decorum, in a climate that has permeated and still maintains a good area of ​​Bolognese painting ....>

Emilio Contini: Next, Bologna May 13, 1966

<.... The lines and colors of Amadori are the perfect musical tone of this great artist, his repertoire sweet and intimate makes it perfect master of his technique, with clear visual ideas to make the widescreen canvas, clear, readable in his deep sensitivity is an artist with spirituality and imagination .... in the portrait symbolizes the feelings of human traits alive and sincere, a portrait full of inspiration and spirit ....>

ET: Il Resto del Carlino, San Benedetto del Tronto, November 28, 1968

<.... The painter Amadori can freely unleash His creative ability in the game that weave magic brush vigorously on a white canvas warp colors strikingly harmonized ... It certainly does not fail to Amadori's strength, the decision of who is fully aware of what he has to say and wants to express; strength and decision which appear clearly in the net strokes, vigorous, tracing quickly but carefully constructive as he has already developed itself in the throes of a meticulous study in which all his senses and his uncommon intuitive faculties ...>

A. Vianelli: The Merchandise, Bologna December 1968

<... Through a painting intense and deeply adherent to the themes of memory and intimacy, the maternal image, sweet and harsh at the same time, relive a presence made up of joys sorrows, moments of joy and serene meditations. In the dim light of warm colors and deep history and memories of long years of life lived quietly, find a new and intense expression. Amadori, professor of orchestra at the Teatro Comunale, a passion that his inexhaustible creativity with that divide the painting executed in this reverent memory, your "ONLY" the most significant ...>

A. Rovinetti: The Two Towers, Bologna December 1969

<... We are particularly impressed by the series of "snow" for the atmosphere they can create that feeling of silence and peace, serenity soft that can give .... And similar results can be achieved only if you have a strong artistic sensibility and a mature knowledge of painting ....>

A. Lombini: The Arch, Benevento March 1970

<... Curiously Amadori carries out a search for variations on the theme of combinations of synthesis, in the wake of a post-impressionist style, with a strong sense intimism. And here, perhaps, his spirit prevails as a musician, his tastes are on the scene of a lover of art asematica ethereal, far from the reality that both the manual and instead weigh on painting ... Cases of painters musicians, after all, there are the famous examples of a Salvator Rosa to Ernesto TH Hoffman, a Savinio to come in our time, it is within its scope, Eugenio Amadori validates a unique series with a consistent professional dedication ...>

E.Contini: Since the presentation of the catalog for the exhibition gallery "San Carlo" in Naples, Italy in February 1973

<... The part that reveals an Amadori completely "new", is the period of snowfall. A lyrical chiarismo where the thin air of the palette acts on an unreal dimension. Horizons dazzled where the atmosphere does not remain in a realistic in its visual identity, but becomes a space between the search-sign, a point of investigation between value and imagination, not without a poetic impulse whose value can not escape to a real recovery of the "man size" projecting towards the ecocide of the third millennium ...>

S. Bartholomew: Naples Night, Naples 21-22 March 1973

<... Long affirmed portrait, seriously committed, now trying to glowing, cast, light and shadow, a type of composition that goes to the abstract in some still lifes with violin raised, most of its remaining production, firmly established, the ' attention of the critic ...>

A. Grace: The Unit, January 25, 1974

<... Eugenio Amadori is a violinist of our orchestra and His exhibition, like the many who made it means its great expressive ability not only through the language of music, but also through the design of color. We wanted to show (perhaps first of all ourselves and then to others) The correctness of a great battle tense acquisition of the construction of cultural centers polidisciplinari where the arts together can complement and complete the conscience of the citizen ...>

C.M. Badini: Since the presentation of the catalog for the exhibition at the Teatro Comunale in Bologna, Bologna January 1974

<... Then, almost in Rossini crescendo, The chromatic explosions of the last "violin compositions with" immediate works, the first jet, fresh and meaningful, the result of a thoughtful preparation composition and tonality of technical maturity. Works that seem to turn a fascinating trilogy pictorial musical yearning for peace of silence, loving kindness, vitality on. Bellini, Puccini and Rossini transferred from the score to the canvas with the baton of a conductor and conductor who knows his poetry and tries her first inspiration ...>

Achilles Lombini: The arch, Bologna February 1974

<.... At the municipal theater for the first time (and it may be the last) was opened an exhibition of the painter Eugene Amadori. During his career, Eugene Amadori has portrayed the greatest personalities of opera and symphonic that have taken place on the stage or in the orchestra podium and these characters has been given a part of the exhibition, the artist, however, has shown that in an anthology where the latest works certainly are of great importance for the interpretative power ...>

M. Donini: Echo of Art, Florence, Italy from February to March 1974

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