CITTÀ BOLOGNA - BOLOGNESE GALLERIES - ARTE FIERA 2012
After 12 years in Anglo Saxon territory, where my day to day life went from Sotheby's to the Walpole Gallery - “templa templorum” of the high Italian age - and to the Restoration Studio of the Dutch Wendy de Beer in which the great Northern and Flemish painting masterpieces passed, I return to Italy with final destination Milan, after a series of lucky coincidence bring me to manage the Koelliker Collection of old masters with the task of coordinating the most authoritative art historians in the world, each of which was called to express their own (authoritative) opinion on a just as authoritative master. And then, the management of loans for the exhibitions, publications, the varies restoration studies.
In fact, after this path, the day I arrived in Bologna I asked myself what I should do, aside from (obviously) taking care of a Bolognese husband and a newborn child. I looked around myself…no galleries similar to the ones I knew…no auction houses with a wide audience…a few illuminated collectors, the Favas in Cento and the Golinelli in Bologna.
I then thought that the moment had come to change my artistic inclination, investing more attention in the modern and contemporary artistic panorama in which I saw more energe in movement and the "young promises" that I was discovering were the mental confirmation of an ancient bond that made me think.
At the Ariete I found Nicola Samori' and his "variations on the theme" around the masterpieces of the seventeenth century masters, at de' Foscherari I only had to ask myself which to pick thanks to their careful research on post-war Italian art and I stopped to look at the papers of Germano Sartelli, the experiments with wood of Mario Ceroli, and then the ashes of the Parmiggiani, an extraordinary Still Life by Calzolari, an homage to Piero della Francesca and on and on… even the great Mina told us…
In the end, Bologna is a small territory but a huge discovery for those who explore it and I had fun weaving a fabric that could create a linking tie between ancient and modern so as to view the contemporary with a "free" gaze, but being aware of the "sign" that art history up until today has already left its footprint in the greater part of new works.
And then, I still come across young men that paint, that don't want to be anything other than a painter and that relies on an easel with greys that remind me of certain lights of the great master of the sixteenth century, Luca Cambiaso - Rudy Cremonini.
Article by Eli Genuizzi Sassoli de' Bianchi
Image by Rudy Cremonini Ricordo Number 9