{"id":3841,"date":"2016-01-01T14:29:07","date_gmt":"2016-01-01T13:29:07","guid":{"rendered":"https:\/\/www.paolomassimoruggeri.com\/?page_id=3841"},"modified":"2018-04-15T20:59:05","modified_gmt":"2018-04-15T18:59:05","slug":"critical-notes-en","status":"publish","type":"page","link":"https:\/\/www.paolomassimoruggeri.com\/index.php\/critical-notes-en\/","title":{"rendered":"Critical Notes-en"},"content":{"rendered":"<\/div><\/div><\/div><!-- close content main div --><\/div><\/div><div id='av_section_1' class='avia-section main_color avia-section-default avia-no-shadow avia-full-stretch avia-bg-style-fixed   av-minimum-height av-minimum-height-100 container_wrap sidebar_right' style = 'background-repeat: no-repeat; background-image: url(https:\/\/www.paolomassimoruggeri.com\/wp-content\/uploads\/2015\/12\/Note_Critiche1.jpg); background-attachment: fixed; background-position: center center; ' data-section-bg-repeat='stretch' ><div class='container' ><div class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-3841'><div class='entry-content-wrapper clearfix'>\n<div class='flex_column_table av-equal-height-column-flextable -flextable' ><div class=\"flex_column av_one_third  av-animated-generic fade-in  no_margin flex_column_table_cell av-equal-height-column av-align-top av-zero-column-padding first  \" style='border-radius:0px; '><\/div><\/div><!--close column table wrapper. Autoclose: 1 --><div class='flex_column_table av-equal-height-column-flextable -flextable' ><div class=\"flex_column av_one_third  av-animated-generic fade-in  no_margin flex_column_table_cell av-equal-height-column av-align-top av-zero-column-padding   \" style='border-radius:0px; '><div  data-autoplay='false'  data-interval='5'  data-animation='slide'  data-show_slide_delay='30'  class='avia-content-slider-element-container avia-content-slider-element-slider avia-content-slider avia-smallarrow-slider avia-content-slider-active avia-content-slider1 avia-content-slider-odd  av_inherit_color '  style=' color:#f4c322; '><div class='avia-smallarrow-slider-heading  no-content-slider-heading '><div class='new-special-heading'>&nbsp;<\/div><div class='avia-slideshow-arrows avia-slideshow-controls'><a href='#prev' class='prev-slide' aria-hidden='true' data-av_icon='\ue87c' data-av_iconfont='entypo-fontello'>Previous<\/a><a href='#next' class='next-slide' aria-hidden='true' data-av_icon='\ue87d' data-av_iconfont='entypo-fontello'>Next<\/a><\/div><\/div><div class='avia-content-slider-inner'><div class='slide-entry-wrap'><section class='slide-entry flex_column post-entry slide-entry-overview slide-loop-1 slide-parity-odd  av_fullwidth first'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><h3 class='slide-entry-title entry-title'  itemprop=\"headline\" >Paul Tomatis<\/h3><div class='slide-entry-excerpt entry-content'  itemprop=\"text\" ><p class=\"titolo_critica\" align=\"center\"><span style=\"color: #000000;\"><strong>PAOLO MASSIMO RUGGERI<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>will be presenting his latest works in a personal exhibition called \u00ab An Italian Painter on the French Riviera \u00bb at the Parc H\u00f4tel Boscolo in Nice.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>It\u2019s an occasion not to be missed to immerse oneself in the artist\u2019s highly visionary world where the humdrum of everyday reality is rigorously kept at bay. It\u2019s a world of proudly defiant youth, undaunted by miscomprehension, rebellious against academia as against parental authority.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Paolo Massimo Ruggeri has a reputation for being an \u201cart animal\u201d. His intimate acquaintance with art derives from his supernatural endowments that make for the arresting eloquence of his works, a striking mise en sc\u00e8ne, and captivating light and colours.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Viewing his works is tantamount to plunging into a sea of passion; it\u2019s a never-ending discovery with intricately miniaturised details that multiply images and ideas in a medley of colours, unfettered by ties with the past.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>As a veritable trail blazer, he opens up new avenues and cultural perspectives through his art. His works engage the viewer in a game, entailing intense physical involvement, with the power to cast off even the darkest gloom.<\/strong><\/span><br \/>\n<span style=\"color: #000000;\"> <strong> According to Malraux &lt; the French are dejected Italians &gt;. Paolo Massimo Ruggeri sees to rectifying that by offering his fellow French citizens a visual and cultural experience that will afford them the opportunity and pleasure of thinking along novel energy lines in dazzling, spell-binding colours.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>&lt; Hats off for the Artist!&gt;.<\/strong><\/span><\/p>\n<p class=\"firma_critica\" style=\"text-align: right;\"><span style=\"color: #000000;\"><strong>Paul TOMATIS<\/strong><\/span><\/p>\n<\/div><\/section><\/div><div class='slide-entry-wrap'><section class='slide-entry flex_column post-entry slide-entry-overview slide-loop-2 slide-parity-odd  av_fullwidth first'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><h3 class='slide-entry-title entry-title'  itemprop=\"headline\" >Ermanno Sagliani<\/h3><div class='slide-entry-excerpt entry-content'  itemprop=\"text\" ><p class=\"titolo_critica\" style=\"text-align: center;\"><span style=\"color: #000000;\"><strong>CHROMATIC COSMOGONY BY PAOLO MASSIMO RUGGERI<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Large canvases bedecked with breathtakingly intense colours and free flowing forms. In a nutshell, that\u2019s Paolo Massimo Ruggeri\u2019s art. Born in 1955 in the city of Cremona and formally educated at Parma, this widely acclaimed master has always shunned the sort of exposure that may be had from art exhibitions and associated social events. Always highly selective and ever attentive to quality, his exhibitive curriculum is indeed very sparse. His works have been on public view in Cortina D\u2019Ampezzo, Montecarlo, Santa Maria del Popolo in Rome, Genoa, Salsomaggiore, the Este Castle in Ferrara, Milan, and Nice.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>\u201cI\u2019m always game and willing to take risks in my work. I have an acute sense of harmony and I love seeking it in subtle and refined poises\u201d, Ruggeri explains. \u201cAs a child I loved drawing, colouring; it was a pastime, a game for me. I remember I was highly attracted by the world of adults. You might say I came of age quickly.\u201d The painter admits his works have spatial affinities with Klimt and glowing colours reminiscent of Van Gogh. Paolo Massimo Ruggeri softly lays out his vibrant oils across wide expanses of canvas with dynamic and dramatic effect. His paintings are cosmic compositions, where gorgeously bright figures of infinite hues developed by the artist as a veritable parthenogenesis of painting itself play out their energetic existence in total spatial freedom. Alien figures beget alien figures \u2013 freely, instinctively, endlessly. Ruggeri definitely sets aside any rationality when in the throes of creativity.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>His compositions are born of instinct. There\u2019s no rumination here. Indeed there\u2019s a sort of detachment from self-conscious thought. It\u2019s pure energy unleashed in the form of unrestrained draughtsmanship, spatial relations, colours, patterns, recurrent and changing. Lyrical, dreamlike, harmonic and utopian elements mix and mingle, clash and split. Dazzling colours suddenly meet and match making for dramatically graphic or sensitively subdued effects. Ideas, sensations, myths roll out in universally paradigmatic representation, forever tossing and tumbling, vying and jostling with each other, never static.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Such universality means that whatever the onlooker can make out in these paintings, each in her or his own way, is sure to be there. Free flowing and parallel universes crisscrossing each other. Ultimately, opposites are not at all that diametrically opposed but come into contact with and intersect one another, as in the painting significantly called \u201cTouch me\u201d. Yes, even the titles of these paintings have a magical, alchemical, enchanted allure about them. There are no 3D images or shadows to be found in Ruggeri\u2019s paintings. There are lots of overlapping images, clues, hints and suggestions, fleeting prompts that lead to a synthesis. Here\u2019s the absolute and primary grammar of painting, sign and colour at their primordial best.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Indeed, Ruggeri\u2019s overwhelming canvases are doors that open out onto a poetic and visionary cosmos, symbol of his artistic endeavour.<\/strong><\/span><\/p>\n<p class=\"firma_critica\" style=\"text-align: right;\"><strong><span style=\"color: #000000;\">Ermanno Sagliani<\/span><\/strong><\/p>\n<\/div><\/section><\/div><div class='slide-entry-wrap'><section class='slide-entry flex_column post-entry slide-entry-overview slide-loop-3 slide-parity-odd  av_fullwidth first'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><h3 class='slide-entry-title entry-title'  itemprop=\"headline\" >Ursula Petrone<\/h3><div class='slide-entry-excerpt entry-content'  itemprop=\"text\" ><p class=\"titolo_critica\" style=\"text-align: center;\"><span style=\"color: #000000;\"><strong>A soothing message from PAOLO MASSIMO RUGGERI\u2019s paintings<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Artists who manage to instantaneously convey at least a part of what they feel when confronting themselves with their surroundings or what stirs their imagination when in the throes of the creative process if painting from pure fantasy are most certainly artists who fully master their subject matter, expressing its contents as if part of themselves.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>The artist thus becomes the veritable spokesperson of the objects that speak through him by means of a simple, straightforward code easily accessible by all in a process of mutual communication. That\u2019s why a work of art calling for additional explanation under \u201cseparate cover\u201d, so to speak, points to a lack of those elements that allow the work to fully account for itself on the visual plane.<\/strong><\/span><br \/>\n<span style=\"color: #000000;\"> <strong> Art is an expressive form of communication that must be capable of standing alone. It must speak for and of itself by itself; it must be able to make itself understood or merely \u201cfelt\u201d without recourse to other means.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>There\u2019s hardly any doubt that whenever a viewer, any viewer, is confronted by one of Ruggeri\u2019s paintings, they are almost sure of falling under its spell, sharing with Ruggeri the very same sensations felt by him upon confronting the original situation triggering his artistic endeavour, an endeavour that essentially consists in \u201ctranslating\u201d his reactions into a idiom capable of making for a more immediate and fuller comprehension of that situation.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>But his mastery of technique alone cannot suffice to account for his outstanding artistic results. There are reasons that well up from deep within that explain and account for his being always in a state of artistic grace, of which the spectacle of his paintings witness to.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>His love for painting as an art form stretches back to his early childhood. But many years were to pass before he was able to begin practising it, and then only after having gone through a profound personal crisis. Indeed, nought but painting, practised totally and with utter abandon, could and did free him from his sore condition. His spirit cried out for release, release that could only be had from painting, practised, though, not as a profession or by way of a diversion.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>In the end, then, Paolo Massimo Ruggeri\u2019s personal crisis was to prove nothing short of propitious for him. Initially, though, he had to wait to capture the moment when his spirit was receptive to the concealed contents of his physical surroundings and ready to make the effort to scrutinise and decipher their inner meaning. At last that moment came and his enthusiasm and commitment have since never waned, despite the passing of the years. Indeed, they have gathered momentum as his \u201cexpertise\u201d has grown, permitting him to instantiate with increased immediacy and brevity what by now is a permanent state of heightened and intense emotional awareness.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>One of the essential elements emerging from the artist\u2019s acutely sensed linguistic transpositions is silence. It\u2019s thanks to this silence that he can concentrate and condense his sensations, tuning into to the vibrations pervading any milieu and tapping them out with rapid and daring, colour-laden brush strokes that don\u2019t betray the slightest pentimento. Such self-confidence and precision is born of a well structured internalisation of what he has physically experienced. This inner structure is therefore firmly in place, simply waiting to show itself and make itself known, even in its frailest and most secretive values.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Ruggeri\u2019s paintings are always intense, unrestrained, soaring. Before setting in motion the expressive mechanics that bring out his emotions, bringing them to rest on the physical support he has in front of him and thus turning them into communicable documents, Ruggeri has pondered at length on these emotions, quietly fostering them within himself. And before them the viewer invariably perceives the lofty and deep silence pervading the temple in which the miraculous transfiguration takes place thanks to an ever inspired \u201cpriest\u201d, faithfully committed to celebrating the propitious rite with deep spiritual devotion.<\/strong><\/span><\/p>\n<p class=\"firma_critica\" style=\"text-align: right;\"><strong><span style=\"color: #000000;\">Ursula Petrone<\/span><\/strong><\/p>\n<\/div><\/section><\/div><div class='slide-entry-wrap'><section class='slide-entry flex_column post-entry slide-entry-overview slide-loop-4 slide-parity-odd  av_fullwidth first'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><h3 class='slide-entry-title entry-title'  itemprop=\"headline\" >Sabrina Falzone<\/h3><div class='slide-entry-excerpt entry-content'  itemprop=\"text\" ><p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>There\u2019s no eschewing the cosmogonic creativity, the turbulently changing colours made all the more vividly by rarefied signs and formal utopias of the Cremona-born artist Paolo Massimo Ruggeri. The optimistic conception underlying Truc aux plumes\u201d and \u201cPetali in decollo\u201d may be considered a charter for a new outlook on art in which the artist enriches his fantastic images with boldly defiant colours.<\/strong><\/span><\/p>\n<p class=\"firma_critica1\" style=\"text-align: right;\"><strong><span style=\"color: #000000;\">Sabrina Falzone<\/span><\/strong><\/p>\n<\/div><\/section><\/div><div class='slide-entry-wrap'><section class='slide-entry flex_column post-entry slide-entry-overview slide-loop-5 slide-parity-odd  post-entry-last  av_fullwidth first'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><h3 class='slide-entry-title entry-title'  itemprop=\"headline\" >W.O.<\/h3><div class='slide-entry-excerpt entry-content'  itemprop=\"text\" ><p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>\u201cColours. Absolute colours, vibrant with light and brushstrokes. Colours that take on shapes, creating unlikely architectures, alien or alienated landscapes, mindscapes and other realms.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>And what appears fixed and confined is instead shifting, embracing and embroiling in a chromatic, boundary-breaking, dichotomy-dispelling cosmogony, where such comfortably familiar pairs of opposites such as surface and depth, viable and artificial, sense and sensibility, or even just figurative and bstract are simply irrelevant.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>Only the essential, cosmic reality of colours endures as they mix, match, mingle and clash with one another, releasing their energies, a boundless gusto and pleasure for life itself, a feeling of giddiness spurred by the promise of possible happiness.<\/strong><\/span><\/p>\n<p class=\"testo_critica\"><span style=\"color: #000000;\"><strong>I could have easily underscored the precision of artistic workmanship, the strong sense of colour, the masterful technique with which these paintings are imbued, or even the suggestive hint of an ancient craft which they exude, but I by far prefer to speak of their magic\u2026\u201d<\/strong><\/span><\/p>\n<p class=\"testo_critica\" style=\"text-align: right;\"><span style=\"color: #000000;\"><strong>W.O.<\/strong><\/span><\/p>\n<\/div><\/section><\/div><\/div><\/div><\/div><\/div><!--close column table wrapper. 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