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on Thursday, July 16, 2009 - 03:38 IDLWGiannetto Salotti's sculpture belongs to the area of abstraction. This means that first of all his works show themselves to the eye as forms placed into space. But unlike much abstract sculpture which rises only one question: to give a geometrical name to the forms that come out of the artist's hands, the sculpture of Giannetto Salotti requires at least other two keys to be comprehended in it's essence. The key of symbols and the key of raw materials.
on Thursday, July 16, 2009 - 03:33 IDLWSalotti is not an homo ludens that trifles with the game of forms and draws from it metaphysical images for the mere delight of sight; he is not the child that sees his way in the creative game moulding clay and conveying in this work his inventive force, his vital drive, a burst of fantastic and fortunate solutions. Salotti is the ungarettian «man of sorrow» for whom «death is atoned by living»; sculpture is a hard but sincere way to atone it.
on Thursday, July 16, 2009 - 03:29 IDLWMarble becomes again a relevant material used by artists who have been brought by current experience to bronze and metal, which belong to a kind of ductile materials in accordance with a more dramatic vision of things. I am thinking of Giò Pomodoro and of Marini. Arp or Mirò, Ruzic or Noguchi confirm the expressive abundance of this matter.
on Thursday, July 16, 2009 - 02:55 IDLWGiannetto Salotti's work impresses first of all for the confidence of a manual work deeply rooted in the idea of "exercise" of art, following the solid tradition of the Italian twentieth century within which he was educated.
on Thursday, July 16, 2009 - 02:44 IDLWWhether they move in an iconic or non-iconic field, Giannetto Salotti's figures have a strong rhythmic and plastic sense, a grace and a firmness which are classically dependent on the design and the mastery of the techniques he uses: mainly marble and bronze, besides baked clay and plaster.