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About Angini

Between spiritual and colour

His paintings’ fragmentation is the result of his own soul, which is constantly searching for something beyond. An“alive” melancholy lingers in his eyes, as in his works, before per- meating and moving us deeply, to carry us into an imaginary and complex world; like himself. His entire life has been an artistic ex- perimentation aiming for knowledge of the self, of others and of the surrounding world. Yellow predominates all colours, standing for divine light and hope. This self-awareness has been attained through artistic experimenta- tion as an investigation tool, as a practice of self-reflection, by means of studying one’s own experience, in constant tension with the outer world, as if trying to let out of the depths of his soul a feast of emotions.

Olimpia Bruni


Interview with Dalì

From an idea by Josè Van Roy Dalì, “In mostra con Dalì”.

An art project which brings forth a touring exhibition, as a tribute to his father Salvador Dalì.

The first edition was inaugurated last year, like a treasure hunt, at the Galleria Tondinelli, in the beautiful scenery of the MOnumental Complex of San Carlino delle Quattro Fontane, in Rome with the following artists: Vittorio Angini, Graziano Peretti, Fausto Ciotti, Ileana Della Matera, Loredana Bendini, Ada Cardilli, Patrizio Veronese and Mario Spigariol.

Among the artists in display, Arezzo painter Vittorio Angini’s surprising works are especially noteworthy – not forgetting the other participants. In 2007, following a recommendation by Josè Van Roy Dalì, son of the famous Catalan painter, Angini was invited to participate in the “Quadriennale d’Arte Contemporanea “, which took place in Rome at the “Vittoriano”, and he currently collaborates in the relevant art project “In mostra con Dalì”. His paintings are located in private collections throughout the USA, Canada, Australia, New Zealand, South Africa, England, Ireland.

His painting, shining with diffused light, penetrates our insight and sensitivity to stimulate pri- mordial reminiscences, which we suppose lost in the depths of memory. In many of his works, one may catch some kind of colour metempsychosis, which, through refined hues, seems to move and expand over the entire canvas, floating beyond rigid contours, where the sacred as- pect of light brightens up those intangible areas of the soul – where feelings and deep emo- tions reside. Light reflections arising from colour expand the image, which seems to fade, exceeding the limits of visual perception, as if to explain, pave the way for a world which nec- essarily lives beyond the picture, spreading towards wider horizons.

Shapes, landscapes, colour plays, portraits, appear like images of our existence, coexisting with the ticking away of time.

Going deeper into Josè Van Roy Dalì’s words is very fascinating: meeting him in his house-mu- seum offered me the chance for further inquiries about the painter Vittorio Angini and “In mostra con Dalì”.

D. Angini’s paintings, which you wanted to be part of this touring experience, unfold hid- den truths about our desires and imagination. Do they have any affinities with your works and with your artistic journey?

R. First of all, they have an affinity with my taste and my aesthetic perception of beauty. Also, deep in Angini’s artistic “maze”, amongst past works and different pathways, I have found several multi-colour parallel worlds, which made me further appreciate the works of this artist.

D. I was able to admire many works displayed in your private Art Gallery, in Salvador Dalì Street, including those by Vittorio Angini. I know that are well appreciated in the cultural and art world. What is your personal opinion on such works?

R. The immediate way of communicating undefinable emotions, by means of his own colours, with the ease of a great novelist.

D. Maestro, in this interesting exhibition “In mostra con Dalì”, each artist will present three works, next to your own. I know you have carefully selected these painters after much in- vestigation: which criteria have you employed?

R. I was able to “listen” to colour vibrations and catch different themes, through the specific inclination of each single artist. To be honest, I also trusted my personal taste, guessing which artworks I would have been pleased to place in my building… and which ones would also have been appreciated by my father.

D. How did this Exhibition come to life and what are its goals? Is it only a tribute to your father Salvador, or is it a tribute to both Dalìs, or what else in addition?

R. It started as a simple excuse to offer a display space and adequate visibility to a group of talented artists. Following some good results, continuing has become inevitable. A work by Vittorio Angini is a tribute to this major artist which, through his genius, has enlightened the world for eternity.

D. Since the exhibition will be hosted in several locations, including New York in 2014, will there be a turnover of artists or will the initial artists continue all along this great adven- ture?

R. This great adventure will go on steady like a human avalanche, in tune with one of my favourite painting themes, defined “metamorphosis”, at least this is my hope. The artists of the first selection will be supported in turn by new artists and will contribute to the unfold- ing of this significant human and artistic enterprise, marked by mutual appreciation and friendship.

A fascinating journey, that of Vittorio Angini and Josè Van Roy Dalì, which will not only ex- pand peoples’ minds to the perception of beauty in art, but will also endow them with colour and with new eyes to admire art.

(2011)


Extracts from the critical antology

All this painter’s works display a full awareness, animated by a poetry which connects them to memories and achievements, turning them into a new world, where drawing shatters like glass, and the magic, unreal beauty of colours dissolves like a rainbow into the infinite. Following this determined artistic experience, Angini’s works appear sublimated by a renewed sensitivity: not an anxious drive for the new or changeable present-day, as often found in this fast world, but rather a total awareness of intentions, aiming – between “reality and dream”– for an expressive enrichment consistently directed towards an exquisitely musical consciousness.

by Bino Bini


As I entered the gallery, I believed it unnecessary and superfluous to talk with the artist, as his pictures already contained an intrinsic right to speak for themselves. Light, as if broken by an imaginary kaleidoscope, is the protagonist of the landscapes. Light makes and dissolves, mul- tiplies and annihilates each reality. It thus composes a new pink and azure fairytale structure, whose borders are explored by Vittorio Angini in each of his emotional surges.

In spite of these fairy-like notes, a sudden sense of fear arises: perhaps such images anticipate a lucid geometric catastrophe -when light shatters rocks, and skies fall into valleys turned into glass. Silently.

(from “Resto del Carlino”) by Ivana Baldassarri


From a group of Arezzo painters, he leaves behind the melancholic poetry of grey landscapes to seek a more intense colour and light expression, giving his works an innate motion with strong scenographic appeal. Angini thus becomes the most unique follower of a tendency which deserves credit for its precisely consistent expression, but never managed to soar above a serene, quiet and reassuring provincialism.

The search for themes – for example during the phase marked by a close relationship be- tween quest for meaning and movement impressed on views and landscapes through distinct beams of light and shadows – has become, with him, ceaseless and closely linked to changing inner needs, and to the most touching personal visions.

by Pier Francesco Greci


Lights pass by in successive moments, like colour facets on the face of human history. They rise towards epilogues of tragedy, towards death meant as a renewal of consciousness and of life. Vittorio Angini’s works are marked by a twist for originality. Portrayed elements appear subject to and animated by movement, however they are clearly not derived from any late fu- turism sequels. They may be considered the result of multiple-viewpoint projections, interior or exterior: an unfolding of views, an overlapping of unclear lights, possibly evoking other ex- periences, not least Cubism. But none of these references is convincing. True: there is a sense of movement in his works, and even a partial solution, or in other words, the beginning of a dissolution of forms, but images present ever-new tones. As mentioned, they are flashes beam- ing through time and living by the intensities and colours of emotions. Reality is visible in each painting: a brief yet sharp reference, or a more extended description, so that the figurative side is matched, as in a perfectly tuned music score, by abstraction’s extreme notes. The story of each artwork is immediately clear. This links the artist to our painting tradition and highlights an uncommonly effective, generally essential, graphic language. The context is marked by flashes of simultaneous lights and glimmers, strips of blue, fringes of red, yellow sunrises: like close and faraway “sounds of colours”, rising from inner depths.

by Franco Ruinetti


Beyond the colours of perception

From soul paths to bursts of Light in Vittorio Angini’s iridescent, composed decompositions. Vittorio Angini’s creative universe is the result of his deep exploration: from the roots of human thinking, it develops – like the bright colours of his paintings – into all directions, in fantastic vibrant explosions, controlled by his research, to probe and perhaps study the in- definable multidimensional spaces of spiritual perception. He thus seems to enter into a con- tinuous and endless transformation of each artistic concept, as if to search for, in the depths of his consciousness, the primeval origin of man and of his own emotions. Amongst several art disciplines taken up by Vittorio Angini throughout time – showing the artist’s soul para- doxically divided into facets, as in a perfectly cut gemstone –, different aspects of his eclectic and refined creative output arise. Beautiful bronze sculptures of playful clowns are worthy of note, with their metamorphic transposition into real jewels, where the exquisiteness of silver and the uniqueness of Murano glassware blend and come to life from the genius of this eclec- tic artist.

I was able to discover this Master through various moments of his artistic production, in dif- ferent periods and artistic disciplines, where imagination and research adequately merge in a magic outcome. Whilst softly gazing at Vittorio Angini’s works and losing oneself in his fan- tastic landscape views – rich with colours and poetic themes stimulating reflection and gently penetrating a demanding viewer’s soul –, one necessarily enters the Artist’s multi-coloured world and immediately converses with him in his most fitting language, that of his palette. Mentally attaining the poetic world we are invited into by Vittorio Angini – through his lively iridescent works, wisely articulated and offered to the viewer as a wonderful read conducive to global understanding, or suggested as pleasant symphonies producing, in anyone’s soul, overpowering sensations able to shatter imagination patterns – is like delving into the light of a new day, whose heralded joy leads to deep reflections.

Unlike other contemporary artists, who, burying any further research in the name of human selfishness, occasionally sink into their own achievements, Angini painstakingly works on a continuous quest for new painting languages. He thus strengthens a universal communication tendency, through his calling for teaching. This arises from a personal instinct to explicitly in- vite, by means of poetic visions, to contemplation and learning – a wonderful gift of sponta- neous emotions, as if magically born from his creations, for that innate need to spread knowledge, superbly captured in each of his works.

The artist seems to occasionally stress, with his themes, some paradoxical aspects of the won- derful nature surrounding us, and which, perhaps, we are no longer able to appreciate with-

out the aid of someone able to make us ponder on the sublime perfection of life’s simplicities and complexities. Il paese dei colori, Notturno, La ruspa ferita, Tornano le rondini, Paese delle meraviglie, La musa, Visione, Festa di colori are but a few of Vittorio Angini’s painted com- positions; rich with colours, as well as etched on the canvas with the delicacy of an ancient en- graver. A mainly bright colour approach, in Vittorio Angini’s lively compositional creativity, may enable careful viewers to virtually transform signs, colours and light sections, harmo- niously predominant in all the author’s works, into pieces of music sharply contrasting with each other – as if the regular pattern of an orchestra’s symphony could suddenly turn into a new remarkable jazz performance with its powerful impact.

In the professional artistic play – wisely managed through the artist’s skills – and in the impact with matter – which accurately transmits a detailed research –, study of colour and mnemonic integration of visions superbly blend. As if stemming from the first draft of Wassily Kandin- sky’s “Concerning the Spiritual in Art”, they miraculously hang in the balance: between a re- mote, liberating drive for “escape” towards a totally abstract expression, and an immediate “redemption”, consisting in the recovery of forms and consistency of images, composed and interchanged, as in a magic kaleidoscope from childhood.

An interchangeable new pictorial concept arises, in this way, towards a new dimension, where everything may appear as exterior sublimation, like a lesson on kindness and morality, striv- ing to convey a preparatory message for an ideal world, unfortunately still only imaginary. On the notes of Rustle of Spring by Sinding, freshly enriched by bright tones which appear to flow from Vittorio Angini’s palette, one pulls away from the imaginary paths of his paintings, to sustain the artist in a ceaseless search for beauty as the attainment of one’s own spiritual goal. In the common pursuit for a more wholesome nature and drive to socialise, one may thus not be surprised, whilst carefully looking at an artwork, at feeling the same emotions felt at the first view of one of nature’s many wonders, offered to us without expecting anything in return.

by Josè Van Roy Dalì (2010)