Arte Femminile di Fantasia, Bruna X
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Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
 
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
 
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
 
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile
Modern Italian Art, Female Portraits, Arte Femminile


 

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arte femminile di fantasia

Working in the medium of ink, charcoal and coloured pencil on soft cardboard these mainly self portraits, tantalisingly set in soft abstract backgrounds, take us beyond the aesthetic and the decorative to a world of intense beauty.

Occasionally, though, the question has been asked: as the artist saw herself as essentially religious in nature, was it really necessary for her to always depict herself naked? Indeed, was she not being exhibitionist, perhaps even sacrilegious, in doing so?

She answered this by brushing aside academic musings on the definitions of nakedness and nudity - of being oneself or being seen naked by others and not being recognised for oneself - and drew our attention to the fact that the very earliest known icons of worship were naked female figurines.

As far back as Neolithic and Palaeolithic times works of art, such as the famous sculpture carved in oolitic limestone, the Venus of Willendorf (c. 24,000 BC) depicted the naked female form as the personification of gods being predominately maternal life forms.

Why, then, should she have felt ashamed? Was she not after all just emulating images of ancient gods? Issues of presumption aside, where was the actual sacrilege?


arte femminile di fantasia

La serie della Arte Femminile Di Fantasia,  e’ creata con inchiostro e matite colorate, il tutto disegnato su cartoncino. I soggetti sono  principalmente  allettanti autoritratti, con sfondi di scenari astratti molto soffici, che ci trasportano al dila’ del  mondo estetico e decorativo depositandoci in una dimensione di  intensa bellezza.

Occasionalmente, però le veniva posta questa domanda:  poichè vedeva se stessa essenzialmente religiosa in natura, era necessario per l’artista  rappresentarsi sempre nuda? Effettivamente, non era esibizionista forse persino sacrilega nel fare cosí?

Rispondeva a questo ignorando i termini accademici sulla definizione di essere nudi, e  mensionava il fatto  che le primissime icone di culto erano infatti  immagini nude femminili.

Sin dell’epoca Neolitica e Paleolitica, si ritraeva la forma nuda femminile come personificazione della divinita’ predominalmente rappresentata in forme di vita materna, come per esempio  la famosa scultura intagliata in calcare oolitico, la Venere di Willendorf (c. 24,000 AC). Perche’ allora lei avrebbe dovuto vergonarsi? Dopo tutto, non stava soltanto emulando immagini di antiche deita’? Dove era l’attuale sacrilegio?