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A versatile personality, Giorgio Bernardini madę his debut in figurative painting with views bare of all descriptive affectation and rich with a vibrant ideał affective content. Accentuating or reducing the light or colouristic effect, according to the moment and his mood, hę has always been able to give the spectator a sense of abandonment and serenity, without falling into the inexpressed or the gratuitous. In the portraits, and particulary in the figures, the chromatic matter is used as a compositive means to establish the levels. On the gentle and melancholy faces of the adolescents, of the women, and along the sinuous linę of the nudes, on the clear background the nervous spatula stroke feels the attraction of the plastic forms. The long study and vast experience thus have the means to be revealed in the diffused or sabred light that caresses or delineates the anatomical details, at times expressing the melancholy and the sentiment of love, measure and rhythm of his procedurę. Nevertheless Giorgio Bernardini has not always remained bound to the objective reality of the vision. Yerifying his methods and comparing them with naturę hę has achieved the representation, parting from a clotted centre, of the movements of matter in expansion. Immersed in the cosmic universe the artist, with a background monochrome that is transparent and very limpid, has felt the need to de-humanize the objects to create in a modern key something that hę felt urging him from within, using the technique that hę had created with effortful experience. The phenomenal qualities of the sign and the colour thus expand, playing on the rhythm, towards infinite heights; restless and lively ideas that the central materie mass does not annul but pushes beyond human possibilities, while the rhythmical effusion is characterized by the graphics in expansion that is never concluded. Bernardini's latest figuration, eminently lyrical, is no longer materie. The smoothed surface in the seeming monochrome of the colours played on unusual tones makes itself lighter and lighter but is never inconsistent so that almost as if having overcome completely the form of destruction-construction at the beginning, the painter wants to prepare himself for the complete work of formation of an ideał world, completely his, that, rich in new tonął values, without perspective and links with the present reality, can live its own life. His thoughts on art: "l loved all that is distinguished with the term "art". There exists a clear link between art and mań. The definition, in the generał sense of the word, could be extended to an enormous stretch of ideological concepts and naturę gives us an example. l love the art that has proceded us, giving us the benefit of an immense theorical and artistic patrimony. Modern art has been able to free itself from all the though preserving its morality and this is why, as a product of human thought it has achieved the most complete forms of expression". |
