Fabio Aguzzi: Sogni Veneziani, Asiago
Why paint Venice
Dostojewsky said that his damnation stemmed from the helpless and precise feeling of putting on the page only a fraction of what he had inside, The same frustration is felt in painting Venice: one can only paint a few small drops of the immense sea of emotions that flow from it. gush forth. Like painting the sound of water or the slow glide of a gondola, the unmade color of certain stones, the brackish or fried smell typical of Castello or Cannaregio? How to paint the silent winter fog or the glowing glow of certain facades in the rain? But it is above all the music of the city that engages your emotions, I am not talking about the music of Vivaldi or Monteverdi, but the chattering, the murmur of the hubbub that lingers in the calli and campi. How do you paint the first dawning with the city bare of tourists where you can steal the rising of the light? It thrills you like catching the graces of a beautiful <tosa>.
Venice is a city gifted by the gods and perhaps destined to disappear and unravel in air and light, to merge into one color, that singular gray that will forever unite it with the lagoon.
Venice is the city of slowed times, and because of this you can still catch there the atmosphere mixed with light and tenuous fog that Turner caught there. The masks and laces that transport you to the painting of Longhi and his carnevals. And carnival never lacks the symbols of death from which it exorcises itself and returns to life and reflects it like a deforming mirror.
Fabio Aguzzi
