“The eclectic artist Antonella Pintauro has participated in countless group and personal exhibitions, has won various awards and is therefore recognized for her expressiveness at the local level (Anzio and Nettuno) as well as the regional and national level in Italy.
The artist favors a double language: the figurative as dreamlike and as material and manages in this duality to express itself completely.
In some figurative works we find elements that are repeated, we find among others the dreamlike language of Chagall and, precisely, we remember works such as: Sogno, Donna che dorme, Donna con l’ombrellini and Unicorni.
In the first painting Sogno, the artist evolves the dance of a girl in the sky in an ethereal and fluctuating sequence full of empirical whirlwinds, where the effects of pure color combinations are rhythmically repeated in the surrounding space.
In the Donna che dorme everything seems soft, the atmosphere is contemplative while a light wind moves the breeze and flowers in the foreground. Colors are characterized by light blue, pink and yellow tones, the female body is well proportioned and drawn with warm tones.
In Donna con l’ombrellini, the figure is seen from above involved in a multitude of umbrellas that open around her, the scene is a little dreamy and recalls Chagall both in the tones and in the background effects that are colorful, animates the composition.
In Unicorni we find the dreamy and evanescent aspect, where the air and the blue of the sky predominate and caress the winged horses, here too it is Chagall in its pure state, its paintings and its expressiveness.
In other works, we find the search for feminine perfection and the positive energy of life, as in: Donna con treccia, Le bagnanti, Donna con pareo.
In Donna con treccia, the artist depicts the woman in a moment of relaxation, where the slender and feminine body becomes the center of the composition, while looking at the sky with intensity. The tones become blue again, this time deep, tending almost to the purple on which stands out the living body, almost a portrait of the artist.
The bagnanti evolves in a landscape dotted with flowers and arboreal species where the body of water welcomes the two women determined to take a bath. The figures are distinguished by their femininity, the bodies are tapered and delicate, while the line and brushstrokes are precise as well as the warm tones of the complexions as well as the decisive features of the waters and the rest of the composition.
In Donna con pareo the work emerges for its depth of the landscape; the tones are again blue and the look of the character is lost in the horizon. The feminine silhouette is once again slender and elegant, with a true femininity that approaches nature with complicity and passion.
In still other works we can see the meaning of family, tender embraces, happiness and sharing are the themes we find in: Amore materno, La scelta, Misura.
Amore materno is a truly magnificent work both for the concept and for the expressiveness obtained. The semi-elongated mother is wrapped in a shawl and in the tender embrace of her baby, while the moonlight and floral landscape seem to contemplate this great love. The tones are deep and intense.
The scelta takes up the theme of maternal love and, with material vivacity, the artist moves the characters in a hymn to joy, demonstrating this, the flowers explode with colors and light, while in the sky in the distance an elderly figure is perceived.
In Misura everything seems to have a meaning, the man in the foreground marks his accuracy with a sweep, while three characters in the distance climb a ladder: the man, the woman and the child, each has his own task, each has his own measure.
In the works Amanti and Distacco. the artist is looking for an intense love lived or lost.
In the Amanti the world disappears to mold itself in a hushed atmosphere full of colors and floral essences evoked. Almost completely hidden, someone appears, who in a passionate kiss takes possession of a naked and completely visible woman, as if love were for one and the other lived differently, his own open, that of the other, closed and veiled.
In Distacco, you can feel the suffering in the sensation of the bright and swirling contrasting tones of the sky, while the characters are on the one hand in contemplation and the other elongated and abandoned to the event. The colors are well defined.
In works such as Il triplo, Dietro lo sguardo, everything feels the contemplation seen and experienced in the inner world of the artist.
In the work Il triplo the figure in half body is a portrait with other figures of glances and faces in the foreground, the background has become blue again, the composition is well studied, the meaning is deep and complex.
In Dietro lo sguardo the female figure emerges again in all its beauty and power; the very worked background contains a lot of light.
In the landscapes, many elements light up with extreme vitality, harmony, silver reflections and vivid rural experiences and some memories of Cézanne’s open brushstrokes are felt (Senza tetto, Luna, Speranza, Isola che non c’è, Donne nei campi).
Senza tetto is a nocturnal landscape that inspires the artist, fascinated by the lights of the openings and the blue reflections of the sky, as in a painting by Cézanne, where, everything appears wrapped in the silence of the night but illuminated by the light, many elements become an invitation to let the night live.
In Luna the aspect of silence bursts into the atmosphere and the moon illuminates the feeling in beautiful marine reflections, while the nocturnal atmosphere becomes very romantic.
In the painting Speranza, the artist once again expresses this concept of the link with water: man is squatting on a straw-colored coat and looks at the brightly colored water mirror, made of blue brushstrokes and a deep blue, as if communication with nature could provide the answers for a better future, in an open and continuous dialogue without obstacles.
In Isola che non c’è, the theme seems to be hope, or an indelible dream in the human mind, an intense blue again, an islet in the middle of the sea and the wind that fills the atmosphere.
In Donne nei campi everything seems to live from a cooperative work, the silhouettes are similar and wrapped in many flowers, the ochre background brings out the movements and the sky does not lighten the substance, creating a real harmony.
Very well done are the works of flowers and still lifes where the trends of the eighteenth century European and the expressive vivacity of Cézanne (Margherite, Primavera, Le mele) are illuminated.
In Margherite the light comes from the left illuminating the vase and flowers with a brilliant effect, overall, the tones are bright and well defined, the vase is bright blue and stands out from the dark and burnished background, a similar theme is present in European paintings of the eighteenth century.
In Primavera, bright colors and reds evolve into a dance filling the entire canvas, the background has turned blue again and light is well represented in the composition that recalls the style of South America.
Le Mele: the light invades the fruit from top to bottom, the tones are warm and brown, the contours are decisive and sculptural, the background is studded with combined spots of pure and bright colors that interpenetrate with the rest of the composition, excellent rendering of the succession of forms.
In the abstracts, the artist adopts the fast language of repetition and the background of the canvas full of energy and expressiveness, these are winning creations (Fishes, Sfere).
Fishes, the work is composed of a repetition of movements of combination of bright colors from quick brushstrokes and evoked fish bodies, in a swirling multiple sequence.
In Sphere the evolution of the sequence is repeated, here the swirling element is more accentuated and as in a dance of tendrils the brushstrokes follow one another.
In material works, we have both the abstract and the figurative.
Among the abstract – the material – the informal, we find: Scomposizione dell’esserre, Contro vento, Altalena color miele. These are three works that echo Pollock with insertions of real material elements, again the artist makes an evolution by also inserting figurative elements (in the last painting)
In the Scomposizione dell’essere against the backdrop of Pollock, a broken bicycle emerges as if to make real and presents the explosion that broke the material.
In Controvento, the artist performs an operation of casting and spraying color, where he inserts skates into the composition, again a tribute to Pollock revisited in a modern and material touch.
In Altalena color miele, the artist combines the “Pollockian” language with the floral figurative language, thus finding a less raw and more expressive dimension in feelings and in the visualization of the artistic concept
Other abstract works of quadrangular composition materials are: I bottoni dei bambini, A mio padre, Carte scartate, Fuochi di artificio. Here, some elements emerge for their physicality, others become calmer and surround the atmosphere.
I bottoni dei bambini in which the buttons emerge in the background in a broken trapezoidal figure.
A mio padre, the work echoes an abstract cubist period, the elements are diversified and moved to complete a composition that generates harmony and softness with a touch reminiscent of autumn.
In Carte Scartate the composition is a mixture of golden elements contrasting with very colorful elements. It feels like a deck of cards on a table with a new blue background and maybe there is still a reference to the marine world.
Other interesting materials for their liveliness and refinement are: Notturno, Il cili, Gocce di luce.
In Notturno, the elements of clusters of matter seem to form primordial cells and then fly into the sky and flow in beautiful floral essences of blue color. In the work Il Cile, the composition is again a diagonal and blue background characterized by material elements of ochre color that animate the atmosphere.
In the work Gocce di luce, the background is always blue reminiscent of spirals and spheres. The light penetrates through the mosaic weaves and the gilded central elements, all restoring a great tonal intensity.
In material – figurative works the artist reaches a certain maturity.
Some works are similar in their sequence and treatment, such as: Mar rosso, Abissi nascosti.
The treatment is that of a real reproduction of the coral reef, it is drops of waxes and other elements that, by stratifying, reproduce a certain desired effect.
The Mar rosso, multiple and figurative composition where the material elements express all the vivacity of a coral reef, the theme of the sea for the artist is always well dear and satisfying.
In Abissi nascosti, he takes up the theme of the seabed always dear to the artist, where the elements intertwine to create layers that interpenetrate.
Other material-figurative works, such as: Natura morta, Abissi, La terra, Stelle di luce, the artist executes paintings of great artistic and formal importance with taste and proportionality.
In Natura morta the composition is diagonal with the marine material elements and they are not all of the same size united by the same sand color, they manage to strike by their refinement.
In the work Abissi we find the concept of still life taken this time in the depths of the sea; it is an evolutionary path that the artist makes to return to the sea what belongs to him always expressing itself in a diagonal composition.
In La terra, the artist manages to summarize the expressions of still life present on earth with material elements, again taking up the theme of the two paintings seen previously.
In the work Stelle di luce, the floral elements again predominate diagonally over the composition. It is an explosion of energy with living material elements.
Finally, in material-figurative works: Isola dei pirati, Spirali, the artist knows how to judiciously evaluate the composition by increasing the concentration of vivacity and the awareness of his style.
The Isola dei pirati is an almost figurative work, which takes shape and vitality with iridescent and golden materials.
In Spirali, the artist manages to combine Sfere’s figurative-abstract with the material where Chagall’s sense of dream is taken up in the figure of the deer above the spirals; in fact, it is a fascinating work that recalls many elements of his artistic excursus in which the artist achieves excellence.
(Barbara Righetti – Architect and art critic)
“An almost uncontrolled movement, a fall generated by elaborate gestures in synergy with emotion and momentum.”
(Arch. Barbara Righetti – 2016, review of the work Controvento)
“In intense chromaticism, expressive research indicates the synthesis of an evolutionary path where the notion of speed due to the fast and elegant glide on the track or on the ice gives the body harmony and balance and provides an intense feeling of freedom.”
(Prof. Mara Ferloni – 2016, review of the work Controvento)
“Antonella Pintauro considers art as a way of life and makes it a daily attitude. Art is a vital essence; she draws her inspiration from everyday life using the most diverse materials in a composition as abstract as it is real. There is no distinction of moments to devote to one’s work, since inspiration is instinct: every gesture, every object, every sensation is transformed into a work of art, stopping and almost freezing the passing of time. And so, these bright and iridescent colors, these semi-precious stones and these reflective materials are the expression of a personality that does not paint, it creates! »
(Dr Carla Ofria – 2013)