THE CHARM OF LIGHT IN THE WATERCOLORS OF THE ARTIST ANTONELLA PROVAGGI
The watercolor becomes, for the artist Antonella Provaggi, the medium of a sweet and calm effusion of the feeling of nature, where the figurative narration represents the transfigured juice of her landscapes, between marinas with solitary boats and ancient villages that open to the light and air. Matisse said: “Painting is relationship”. And he explained: "Relationship is love". In this painting there is the ability to establish a loving relationship with things, with delicacy, as if the paintings were lyrical distances. The same nature appears in the filtered watercolor, therefore, re-savored among the precious values ​​of the greens that integrate with the lightness of the air in the pearly grays, which makes the free views clear and clear, without constraints. I feel the breath of an illustrious civilization that was born from French Impressionism and which evolves towards a dreamy setting, while in the perspectives dilated by inner emotions, it becomes almost metaphysical in the silences of the soul. No forcing, but extreme attention in capturing that certain point of light, that exact gradation of tone, that vibration of the air with the utmost sensitivity. So this is Impressionism?Not really. The phenomenal nature of vision, typical of Monet, undergoes a sort of passage, through the memory that advances. The difference is not evident, but the fragrance of emotion gives way to nostalgia for the lost moment.
Here then, his landscapes with the background of cliffs, open to marine views, so clear, in which the tones harmoniously sing the golden ocher, the celestine blues, the variegated greens of the vegetation, where the painting becomes a melodic music, in to which the images in the wateriness of the color light up with white light in the reconciliation between sense and intellect, nature poetry. In this way, the tonal game is always refined and admirable in the transparency of the colors which, in the humid air, dissolve in iridescent ranges, grasping in harmony the lesson of painting as a transfiguration of light, as the magic of the senses and enchantment of the 'soul. But at the same time he looks at nature, seeking visual stimuli from it as sentimental, for that relationship Matisse was talking about. In his splendid painting we perceive this primary need for dialogue with the natural datum in the suspension of precious moments. In the end, the illusion and estrangement of realities transport us to an existential dimension of the author, an almost golden dimension, in which it is beautiful to live in the feelings that only the universal language of art can transmit to each of us in a new dream. Carla d'Aquino Mineo