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Pittura e artisti pittori contemporanei in mostra - Sezione interattiva

Profilo di Francesco Venier
Nome e Cognome (o nome d'arte) Francesco Venier
Data iscrizione Mag 27, 2008
Località Favaro
Provincia VE
Regione Veneto
Indirizzo personale sito web WWW.FRANCESCOVENIER.IT
Recapiti telefonici 338/4791736
Biografia (1000 - 2000 battute) Il maestro veneto Francesco Venier è personalità italiana di risonanza internazionale. Pittore, giornalista, opinionista, creativo e inventore, Francesco Venier è presente da anni, con molti suoi servizi, in molti mensili italiani, in primis sui mensili della editoriale Olimpia, il più importante gruppo editoriale nazionale proprietario di una miriade di riviste trattanti gli argomenti più vari. Presentazioni dell'arte del maestro Venier e delle sue prestigiosissime sedi espositive compaiono periodicamente nei maggiori quotidiani italiani (il Gazzettino di Venezia, l'Arena di Verona, la Nazione di Firenze, ecc. ecc.). Suoi servizi giornalistici, inoltre, e servizi su di lui e sulle sue attività sono stati pubblicati da molte importanti testate estere: In-Fisherman (U.S.A.), Fisch & Fang e Blinker (Germania e Austria), Le Pêcheur de France, La pêche et son environnement, La pêche de la truite, La pêche des carnassiers (Francia e Canada), Wedkarz Polski (Polonia), Ribàrstvi (Repubblica Ceca). Naturalmente tutti i mensili citati, oltre che letti negli stati d'origine, sono diffusi in tutti gli stati di pari lingua. Tutti questi giornali vedono il maestro Francesco Venier come personalità leader nel mondo dell'arte, della pesca, del turismo, della nautica, ecc. ecc. In Italia Venier ha eletto come sue sedi espositive i più prestigiosi Grand Hotel nazionali, dal Cipriani e l'Europa e Regina di Venezia all'Excelsior di Firenze, dal Due Torri Baglioni di Verona al Grand Hotel Continental di Siena, dal Grand Hotel di Trento al Relais Certosa di Firenze, ecc. ecc. In occasione delle personali del maestro Venier il favore della critica è sempre stato universale e la partecipazione di pubblico rilevante. Questa predilezione espositiva è motivata dalla convinzione del maestro che la pittura debba integrarsi in un contesto vissuto e debba interagire in modo vivo e non stereotipato per essere fruita al meglio. La simbiosi emozionale, infatti, scaturente da incontri non canonizzati fra pittore e fruitore è maggiormente istintiva e meno condizionata da influenze culturali, spesso impositive e scontate. La pittura del maestro Francesco Venier si ispira all'acqua e a ciò che vi orbita attorno. Il mondo pittorico del maestro è sognante, positivo, colorato e armonico, non riproduzioni dal vero, ma rielaborazioni stilizzate di universi ricchi di pace a cui mirare. I colori vivi e accesi, sempre presenti, testimoniano l'ottimismo e la gioia di vivere di chi li usa e il tratto sempre puro e armonico è quasi una forma di scrittura. Uno scrivere per simboli, indicante quanto la vita debba essere amata e tutelata, su di una tela universale, senza confini e barriere, senza odi e divisioni, tutti protesi verso un mondo perfetto e equilibrato.

(Estratto comunicati stampa 2005-2006)
...............

LA MIA PITTURA

Potrà ad alcuni apparire anomalo che sia proprio un pittore a parlare di se e della sua arte e non, come spesso avviene, un critico.
Se lo faccio, cari amici, un motivo c'è ed è per il fatto che solo io mi conosco appieno, so le mie intime motivazioni e la reale valenza delle mie fonti di ispirazione. Vi prego di scusare questa mia scelta, quindi, che potrebbe apparire pretenziosa e narcisistica.
La mia pittura è sempre positiva, sognante e concettuale. Non rappresentazioni dal vero ma interpretazioni di un mio mondo, al quale aspiro, nel quale ogni componente interagisce armoniosamente con le altre in contesti mai statici ma sempre in continua evoluzione. Le figure umanoidi, quelle animalesche e gli sfondi nei quali agiscono manifestano una perenne dinamicità fisica e comportamentale e, inoltre, ogni attore della tela, pur dotato di una sua spiccata personalità, appartiene consapevolmente ad un organismo unico, finalità precipua della sua ragione d'essere. Un organismo a volte corporeo e, altre volte, etereo se non del tutto spirituale, un organismo chiamato VITA, meravigliosa anomalia in un universo altrimenti freddo, schematico e asettico.
La vita, appunto, nella sua perenne evoluzione è la mia principale fonte ispiratrice e, fra le sue componenti, l'acqua prima di tutto. Un elemento liquido che non è semplicemente acqua ma liquido amniotico, habitat e fonte della vita sin dai primordi. Da essa tutto ha avuto origine e, senza di essa, ogni cosa cesserebbe d'esistere. I pesci, spesso rappresentati nei miei quadri, non sono, per me, semplicemente dei pinnuti ma nostri progenitori, amici e, nel contempo, compagni di viaggio. Le figure umanoidi mai complete, sempre caratterizzate da ibridazioni animalesche, manifestanti una continua evoluzione corporea, sono la testimonianza di quanto la vita, nel suo assieme, non sia mai statica e inalterabile ma sempre mutabile ed evolventesi seguendo leggi solo apparentemente casuali e caotiche. Tutto ha una sua ragion d'essere invece e ogni mutamento è mirato all'adattare gli essere viventi al mutare dei contesti ambientali ed a ottimizzare la funzionalità di ogni singola caratteristica fisica oltre che a migliorare ed indirizzare positivamente ogni singolo aspetto psicologico. Per me la vita, pur nella sua occasionale crudezza, è sempre e in ogni caso felicità, irrepetibile occasione per il singolo che non deve mai essere sprecata. Nei miei quadri sono sempre presenti degli idilliaci e stilizzati mondi onirici, non solo sogni di pace ed equilibrio ma mete a cui mirare, universi da realizzare e raggiungere. Questo motiva il senso del viaggio e i voli onirici caratterizzanti tante mie opere. Il volo in particolare, la capacità di volare va intesa come sublimazione corporea, rarefazione fisica liberante l'anima del soggetto da ogni limitante aspetto materiale. Nel mio dipingere il colore ha una valenza fondamentale. Io vedo sempre la realtà a colori, a volte vivaci e altre volte tenui, perenne testimonianza del mio ottimismo e della mia fiducia sul sempre possibile miglioramento di ogni cosa e sulla positività dell'animo umano. L'interazione fra i diversi cromatismi, nei miei quadri, provoca, almeno in me, vibranti sensazioni visive molto simili a quelle musicali e cos?, come nel caso delle armonie musicali, la percezione del fruitore avviene a livello istintivo e viscerale, estrapolata da un contesto di forme delimitate nello spazio. Il tratto nelle mie tele ? sempre chiaro e puro, senza indecisioni grafiche. Ci? dimostra l'importanza che io attribuisco alla chiarezza intellettuale, ad un modo di pensare ordinato basato sul rispetto delle priorit? e dei logici rapporti di causa-effetto. Non mi rappresentano per nulla, pertanto, il caos, l'indecisione e la sfiducia nel futuro anche se sono consapevole delle difficolt?, degli ostacoli da superare e dell'inevitabile ripresentarsi di corsi e ricorsi storici. L'importante, a mio avviso, anche ad impercettibili passi, ? di tendere sempre al miglioramento sia funzionale che spirituale. Tutte le mie tele sono dipinte utilizzando smalti sintetici inglesi, sottilissimi pennelli dell'uno e del due e, sempre e unicamente a mano libera. Nella maggioranza dei casi sono solito esporre nei pi? importanti Grand Hotel italiani, dal Cipriani e l'Europa e Regina di Venezia all' Excelsior e il Relais Certosa di Firenze, dal Due Torri Baglioni e il Leon D'Oro di Verona al G.H. di Trento, dal Continental di Siena al Tower di Bologna, ecc.ecc. Espongo quasi sempre in questi luoghi poich? sono convinto che una casuale fruizione dell'arte pittorica, al di fuori dei contesti canonici, permetta un connubio pittore-osservatore pi? libero e istintivo, svincolato da ogni sorta di predeterminato e, a volte, vincolante imperativo intellettuale. Io sono convinto che dipingere sia un modo di comunicare per immagini, un linguaggio universale che non necessit? della frapposizione di terze persone e, cos?, se e quando la comunicazione avviene, inizia veramente un intimo dialogo a due, a volte una fusione d'anime.

Caramente
Francesco Venier

Mr Francesco Venier is a leading personality in Italy, although he is also internationally well-known. Painter, journalist, columnist, for many years, Mr Venier?s reports find their own space within several Italian monthly reviews, especially in the magazines edited by the Gruppo Editoriale Olimpia, leading publishing company in Italy, owner of several magazines each dedicated to a specific topic. Some of the major Italian newspapers such as il Gazzettino di Venezia (Venice), l?Arena (Verona), and la Nazione (Florence) regularly report about Master Venier?s art exhibitions and their impressive venues. His articles and reports are published by some of the most important magazines worldwide, such as In-Fisherman, U.S.A., Fisch & Fang and Blinker, Germany and Austria, Le P?cheur de France ,La P?che et son environnement, La P?che de la truite, La P?che des carnassiers, France and Canada, Wedkarz Polski, Poland, Rib?rstvi, Czech Republic. All of these monthly reviews are read in other countries of the same language. Mr Venier is considered a leading personality in the field of art, fishing, tourism and sailing. Mr Venier has chosen some of the most glamorous hotels in Italy as the perfect venues for his exhibitions, such as the Cipriani and Europa e Regina hotels in Venice, the Excelsior hotel in Florence, the Due Torri Baglioni in Verona, the Grand Hotel Continental in Siena, the Grand Hotel in Trento, the Relais Certosa in Firenze, and many others. During his one-man exhibitions, the press has always backed the Maestro Francesco Venier, and the attendance is constantly rising. This is justified by the Maestro?s firm belief that in order to be enjoyed, painting must be integrated in real life and must interact with it still being something alive. Then the emotional harmony that is established between the painter and his audience will be more spontaneous and less influenced by cultural interferences, which often have a negative impact.
The Maestro takes his inspiration from the water, and everything that lives in it. Mr Venier?s painting is positive, colourful, dreamy and harmonic, stylized versions of the real depicted as peaceful heavens. His usual bright colours confirm his optimism towards life, and the neat and clear strokes are a sort of handwriting. It is like writing using symbols, showing how important it is to love and protect life, all on a universal canvass, without borders and barriers, hatred and divisions, where we are all aiming at a perfect, balanced world.
(Abstract from press releases in 2005 and 2006)


My painting.

One could think it is that a painter talks about his own art, not a critic, as happens most of the times.
If I do it, my dear friends, there is a reason behind it. It is that I know myself completely. I know my intimate motivation and my sources of inspiration. Please, forgive me if I sound narcissistic for this is not the intention.
My paintings are always positive, conceptual, and a representation of a constant dream. I do not represent reality, I interpret my world, a world that I aspire to, where every element harmonically interact with the other in a context that is never static, but in a steady evolution.
The humanoid subjects, the animal-like ones, and the backgrounds where they live show the never ending physical and behavioural dynamics. Although having a definite personality, each of these subjects on the canvass are still consciously part of a same living organism, which is the supreme goal of their existence. A corporeal organism, sometimes ethereal and even spiritual, an organism called LIFE, a marvellous anomaly of this universe, otherwise cold, schematic and aseptic. The main source of inspiration for me is life in its everlasting evolution, and its elements such as water. For me, water is to be considered as amniotic liquid, a source of life dating back to the creation of the world. Everything originates from it, and everything would die without it. The fishes, often portrayed in my works, are not just part of the painting, they are our ancestors, our friends, and our companions in the journey of life.
The humanoid subjects are never complete. They are always influenced by animal features, in a constant development of their bodies. They tell us how life as a whole is never static or inalterable, but it changes and develops all the time, following rules that only seem chaotic, but are not. Everything has a reason to be, and each change is aimed at adapting the living organisms to the ever-changing environment, improving every part of their bodies, and at positively perfect the psychological aspect.
I believe life, although cruel, is always a source of happiness. It is an unrepeatable chance that should not be wasted.
In all of my paintings you can see some idyllic worlds, like dreams of peace and equilibrium we have to aim at, universes to be created and reached. In particular the ability of flying has to be regarded as corporeal exaltation, physical rarefaction that frees the soul from any material limitation.
In my works colour is very important. My vision of the present is colourful. I sometimes use bright colours and sometimes light as a proof of my optimism and faith in the possible improvement of every single thing as well as my faith in the positivism of the human soul. The interaction of colours in my works has a vibrant effect on myself, like music. As it happens with music, who observes the painting will react instinctively, not framed in a specific context. Lines are pure and clear, no graphical hesitations are on my canvasses. This is in line with my need for intellectual clarity and a rational thinking based on respect of priorities and the logical relationship between cause and effect. Therefore, chaos, uncertainty and mistrust in the future do not represent myself at all, even though I am well aware of the difficulties and obstacles to overcome and the recurrence of historical patterns. In my opinion, what is important is to always be aiming at an improvement, both spiritual and practical. All of my works have been painted using English synthetic enamels, thin brushes number one or two, and of course all is made by my own hands.
I usually display them in the most prominent Italian hotels, such as the Cipriani and Europa e Regina hotels in Venice, the Excelsior and Relais Certosa hotels in Florence, the Due Torri Baglioni and Leon D?Oro otels in Verona, the Grand Hotel in Trento, the Continental hotel in Siena and the Tower Hotel in Bologna. I tend to display my works in these places because I am convinced that if people enjoy art outside its typical environment, they will communicate with the painter in a much freer and instinctive way, without any sort of intellectual hindrance.
Painting for me is a visual communication. It is an international language without the need of any third parties, and therefore when communication starts, then an intimate dialogue is born. It is a blending of souls.
Francesco Venier

My painting
?Mirror of our existence and of a dreamlike world?

How can one talk about himself and about his artistic inspiration? How can one tell many people, often so different, his own motivation and personal aspirations while being truly sincere and on the same wavelength?
How can one be really himself, freed from the usual clich?s? Dear friends, this is hard work!
By emptying your mind and trying to speak freely such a thing is not impossible.
I shall tell you now the reason why I have decided to present this report, quite unusual for a magazine about fishing.
For years many among you have been reading my pieces, know my passions, and can therefore regard my article as the sequel to an open debate.
I hope others will find the answers to the many questions I am so often asked at my one-man exhibitions. For example, ?why do you paint like this??, ?what is the meaning of this picture??, ?what is your technique??, in addition to several other questions.
The world of painting involves a varied environment, where endless styles are part of it, reflecting the most peculiar psychological motivations.
Sailing in this ?infinite sea?, known as painting, I am trying to free myself, and make an effort to explain who I really am and what my dreams are. My inner desire is to communicate with whoever is looking at my paintings by using a language, which is as spontaneous as it is universal.
In my opinion, painting as well as music, does not require any specific knowledge or cultural education to be understood. If you like a picture, and find some sort of satisfaction in the colours and images you see, then an instinctive symbiotic relationship between the artist and the audience has already been established.
There is no need for finding explanations or any other reasons to dignify the work of art. The contact with the public has already started! Later every one will interpret the painter?s world his own way, following one?s needs and sensitivity, then becoming one of the ?inhabitants? of this world.
I am deeply convinced that when a painting needs clarification to be understood by the audience, this means the instinctive relationship is just not there. The artist?s world and the audience?s understanding of it remain two distinct realities. The painting is only passively understood on the basis of private intellectual standards. There is no such misleading commonplace as the need of a cultural background in order to express judgments. In my opinion, an excess in education could at times be a strong intellectual influence and inhibit the genuine reawakening of emotions.
The Birth of Venus, by Botticelli, any of Caravaggio?s Madonnas, Van Gogh?s landscapes, Modigliani?s female figures, are few of the masterpieces that move you. They get inside your soul, like a kind of universal of music, going beyond ethnic, social and cultural differences. They are without a need for any explanation. This is magic!
In each work the artist?s originality is clearly perceived as if he was next to you to experience that unique moment, that exclusive feeling.
Referring back to my painting, what the critics say about my works that I appreciate the most, is that my style is original and does not follow any specific school or trend. It expresses a free and independent personality.
You may like it or not, be it defined a masterpiece or just rubbish, each of my works fully represent myself and does not need any theory in order to justify itself.
Nature and water, the source and origin of life, are the main sources of inspiration for my works. Inspiration only, because my aim is not a faithful representation of the real.
When I work colours and subjects start to live. My artistic expression is then subordinated to my own world, where everything is instinctive and often primitive.
Stylized landscapes, sunsets or sunrises, in all of my works, are for me like a goal, a peaceful heaven where I can find my shelter.
The fishes I always paint are not to be considered as a representation of the real, but as an intellectual exaltation of an ancestral life coming from the water.
They are active subjects, silent witnesses of the perfect balance of nature, our companion in this travel, sincere friends, progenitors, and brothers at the same time.
The female or male subjects, often lonely (but never alone!), always unfinished and intentionally hybrid represent a personality in constant development, they are like main characters, but still subordinated to the context in which they act. They live in a special world, sometimes as if they were its owners, always positively influenced by it, in perfect harmony with all of the elements. These subjects also have some features that are typical of other species, such as wings, palmate hands, or tentacles similar to snakes. I do not mean to create some creatures that are autonomous for the simple fact of being different, but my only goal is to paint the continuous evolution of nature.
Therefore, life becomes the result of interaction and constant mutation. Each thing has to be regarded as part of a whole living organism, never still or unaltered, but always mutable.
Looking at my paintings you will notice straight away the definition of my stroke, the importance of movement and colour in creating an image.
The final result is instinctively understandable, simple but not simplistic, like a language based on symbolic elements that interact with one another, but always different in lines and space.
To give an example, it is easy to see how my idyllic landscapes can be either the scene where the action takes place, or subordinated elements, surrounding humanoid creatures, in circular spaces, in restrained spaces that are drawn by movement.
Landscapes can be the main background for the work, in other cases they are strictly contained in defined spaces to give shape to wings, bodies, tresses or fins.
Also landscapes are contained in spaces created by the movement of the main subject, or in circular spaces, like windows on my dreams.
The pure, sharp strike witnesses my personal aspiration of intellectual clarity. Mine is a world where equilibrium reigns, easy to interpret, devoid of uncertainties, where priorities are a certain fact. Colour, then, is the main element. Maybe it is because I am a positive and optimistic person, that I always see the world in vivid colours.
Colours are life for me, like music and fulfilment of our soul. Definite and bright colours, that one next to the other build a harmonic system. They are straightforward because they are easy to understand.
My dear friends, I think I have been telling you too much now!
As I mentioned at the beginning of this message, the paintings are what matters, not their explanation. If looking at them you somehow feel tied to them, then it means that I have been successful in communicating my emotions to you. I hope you will be interested in looking at more of my works, so please get to know me better and log on to www.francescovenier.it
Francesco Venier


My painting
?My infinite passion?

My dear friends, you will forgive me for this article, which is better suited for an art magazine, than for a magazine about fishing. What I wanted to do in this article was introduce my most recent works to those friends who are interested in my passion for art, as well as fishing. This article is for those who show their genuine interest and appreciation. Furthermore, I also believe that those of you who do not visit art exhibitions by reading this will get to know me better, the one who has been writing reports on the aquatic world for years.
By reading about me, it will be clear to you what my ecological motivations are. They should be shared principles of all those who love nature. Fishermen, for example.
You will notice how some of my latest works look completely different, graphically more simple, and more conceptual. I felt the need for this kind of painting because I was and I still am looking for a symbolic language which can express what my inspirations and motivations are, in a minimalist way. If you look at my works with more attention, I hope you will find my recurrent patterns such as my dream worlds, the chromatic combinations, and the equilibrium of the elements, as the universal order I aspire to.
If you regularly read this magazine you will probably know that I have been painting for years, and my works are exhibited in some of the most glamorous locations in Italy, such as the Cipriani hotel in Venice, the Grand Hotel Excelsior, Florence, the Due Torri Baglioni hotel in Berona, the Grand Hotel in Trento, the Tower hotel in Bologna and the Jolly hotel in Bergamo.
The constant success of my one-man exhibitions confirmed my choice of exhibiting in these kinds of places was the right one. Doing so I can reach a large number of people of any nationality, and cultural background. I am satisfied, because I am aware that my pictorial language is not limited and understood by those who live locally. Italians, Britons, Spaniards, Frenchmen, Germans, Japanese, Americans and Arabic people are exposed to my works, and communicate with my art. This proves to me that I am able to communicate my feelings globally, without any linguistic, cultural, ethnic or territorial barriers, like in a mutual symbiosis, touching the deeper and primitive of emotions, the truly universal emotions of the human being.
Everyone on this earth is fascinated by colour. Chromatic combinations are essential in the process of identifying and putting in concrete forms what we see consciously or unconsciously. Colour is equally as important as the subjects, perhaps even more. It is the first thing our eyes catch, even from a distance. We then start to observe rationally. We can understand the shapes which will then mean something to us, as if they had a personality.
For this reason, the colours in my works and their combinations are the leading elements. It is the emotional spurs that hit people?s feelings, overcoming any barriers to communicate with the observer.
In my paintings, colours are a like mirror of myself, sometimes joyful and vivacious, sometimes softer and dreaming, always positive, like my vision of life and the world of peace and equilibrium my soul is aiming at. I tend to use plain colours, non shaded, that I play as words in a chromatic language.
Some critics think that this use of colours tells a lot about my inward order, my tendency to see things in a pragmatic way, not hesitating, and my well-reasoned and constructive firm beliefs.
I believe this is who I am, and I am sure I often make mistakes evaluating things, but I am always sincere and genuine.
My paintings are always in harmony with myself. The purity of my strokes interact with the plain and resolute colours, giving birth to a picture which is a concrete alternative, although ideal and originated by a dream.
My dreamlike worlds are sometimes the background for an action, and are often limited in the spaces outlined by the main subjects, like essential parts of the picture, that can not be set aside from them. In this context, the environment in the background is tied to the subject, so that the subject finds in it its reason for living, its identification.
In fact, it is impossible for me to think that the animal world can exist outside an environment, so there is such a strong tie that each single element is part of the whole, in a wonderful and harmonic living organism, never static or unalterable, but still in a never-ending development.
In our lives everything states this constant and never-ending evolution, nothing will remain the same, each cause and effect is aimed at an improvement and better functioning, so that we can reach a transcendental perfection.
Human beings, when they give their best, are a confirmation of this. Their capacity of dreaming and changing the reality, the capacity to improve themselves and what is around them and their capability of considering spirituality more important than what is earthly is nothing but what dignifies them the most, the quintessence of evolution.
Francesco Venier









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