He won several important recognitions and awards: the Italian Art Leader Award ’92, the Art and World Prize of Hong Kong in 1994 he was also nominated member of the Accademia Internazionale Greci/Marino. ![]() During his career, Giorgio Lo Fermo has participated in international exhibitions in New York (1992), Stockholm (1992), Budapest (1992/1993), Hong Kong (1994) and in the International Art Competition of New York in 1995. His concept is reanimated in color and in aesthetics, which take kinetic paths toward both reality and fantasy, connecting themselves intimately with experience and interior tension. Lo Fermo’s style is a studied symbolic elaboration of varying rhythms, in which objectivity and logic give way to a liberal expression of the dynamic content. His innovative style took form in the 70s, in the stimulating atmosphere of the new Rome, re-born through the creative vitality of Fellini and Rossellini. He studied at the School of Arts and Crafts of San Giacomo and then Sociology of Art at the University of Rome. He was born in Sicily in 1947, but has lived and worked in Rome since the mid-1960s. The painting might have been influenced by Umberto Boccioni's 1912 Technical Manifesto of Futurist Sculpture (published in Moscow in 1914), in which he suggested "a translation in plaster, bronze, glass, wood, or any other material of those atmospheric planes which bind and intersect things" ( Costakis, 352).Giorgio Lo Fermo is an Italian painter and sculptor. In Two Figures (1913-14), Liubov' Popova beautifully demonstrates the artistic possibilities of a Cubist reconstruction and, at the same time, her talent to transcend simple imitation. Some of the most outstanding Cubist works came from the brush of Malevich, Popova, and Udal'tsova. In particular, the Russian Cubists carried even further the abstract potential of the style. As they did with many other movements, the Russians interpreted and transformed Cubism in their own unique way. Russian painters were introduced to Cubism through the works bought and displayed by wealthy patrons like Shchukin and Morozov. ![]() Cubism lasted till 1920s and had a profound effect on the art of the avant-garde. The construction requirements brought about the introduction of new textures and new materials (cf. Compositions were still static and centered, but they lost their depth and became almost abstract, although the subject was still visible in synthetic, simplified forms. Color regained its decorative function and was no longer restricted to the naturalistic description of the form. In the center of the painters' attention was now the construction, not the analysis of the represented object - in other words, creation instead of recreation. A new phase in the development of the style, called Synthetic Cubism, began around 1912. Since color supposedly interfered in purely intellectual perception of the form, the Cubist palette was restricted to a narrow, almost monochromatic scale, dominated by grays and browns. Picasso called this reorganized form the "sum of destructions," that is, the sum of the fragmentations. The result of such a reconstruction was a summation of separate temporal moments on the canvas. An object, seen from various points of view, could be reconstructed using particular separate "views" which overlapped and intersected. Between 19, the analysis of human forms and still lifes (hence the name - Analytical Cubism) led to the creation of a new stylistic system which allowed the artists to transpose the three-dimensional subjects into the flat images on the surface of the canvas. ![]() The early, "pre-Cubist" period (to 1906) is characterized by emphasizing the process of construction, of creating a pictorial rhythm, and converting the represented forms into the essential geometric shapes: the cube, the sphere, the cylinder, and the cone. ![]() Cubism (a name suggested by Henri Matisse in 1909) is a non-objective approach to painting developed originally in France by Pablo Picasso and Georges Braque around 1906.
0 Comments
Leave a Reply. |