Rosalind Keith: harmony, elegance and chromatic refinement!

During the years spent taking a critical look at up-and-coming artists who exhibited in various galleries and cultural venues adapted to host exhibitions where it was possible to catch a glimpse of signs of talent, genius and innovation (besides confronting, or at least getting the measure of my stratographic spatula style), my mind has learned to file away in an immense cerebral archive a random classification of prototypes and archetypes conforming to similar colouring and style.

Rarely does one see an English artist (well prepared by the water-colourist school, whose historic foundations are anchored to legendary figures of the past like Turner, Constable, Blake, etc.) who exhibits works with such unique features of great stylistic and structural finesse.

What is remarkably striking is the intense harmony her subjects exude and the elegance with which they mime the very personal dialogue with their interlocutors; almost as though living behind a glass window, aware of being observed, admired and cosseted.

An interesting review of Rosalind Keith’s media path and artistic formation through her wide-ranging curriculum reveals that her artistic life has deep roots in Italy, in Florence, where she arrived after a normal course of study in England.

So, from an artistic viewpoint, she can be considered almost an Italian through and through, who has succeeded in creating sound and well-structured foundations, adding just that light touch of feminism from across the Channel which greatly enriches her personal psycho-artistic baggage.

Early on in life she began to frequent Masters by attending courses in figurative nude art, portraiture and still-life.

As an enthusiast I admire with satisfaction the sinuous, fresh and remarkably feminine forms, pregnant with barely hinted, almost prim, albeit intentional, sensuality.

It is also a pleasure to observe the well-balanced, lively, chromatic and tonal harmony which agreeably stimulates the overall view and triggers research for an intrinsic view through paths structured by precise, fascinating lines. Not least, the chromatic potential, extremely complete and full of skilful shading which adds depth to the entire work.

Nothing is left to chance, everything occurs in a structured manner, aimed to produce a surprising result. If I had to compare Rosalind Keith with an artist of the past, this would certainly be Bruno Cassinari, who I consider to be one of the most prolific, clever and eclectic wizards of drawing and colour.

From her biography it emerges that her painting originates intimately from the evolution of past events, whereas her “unique” style has developed through informal experiences that took place between 2002 and 2006 (which remain a cornerstone of her present metamorphosis): since the birth of her daughter in 2008 and the death of her mother in 2012, she has felt the intimate desire to represent a series of marvellous works focused on the ancestral relationship between mother and daughter, enveloping those unrepeatable moments in a single act of love.

The delicacy of the figures blends perfectly with the elegance of movements, generating a gentle and refined combination while at the same time vigorous and full of that power of love which flows in the wonderful vital embrace from which skilful chromatic plasticity and masterfully treated stylistic refinements emerge.

I find the chromatic difference between man and woman as a different socio-mental genesis quite fantastic and ingenious. Rosalind Keith: my sincere compliments for your captivating and enormous talent.

International Master of Art

Mario Salvo