Elisabetta Manghi.

Elisabetta Manghi was born in 1969 in Reggio Emilia. From an early age she shows a propensity for creativity, the search for emotions and drawing. Daughter of Art, father Giuseppe, a naive painter and writer of several books, from an early age he transmitted to her the love for art in general and the mental openness to people. Over the years she has experimented with pencil drawing, black and white and lands, the research continues in 2007 she began to attend various painting courses including by the teacher and artist Nicla Ferrari, experimenting with oil colors on canvas and table and deepening the search for color in which the interest in the human figure and the portrait prevails, represented both with the use of colors and monochrome, black and white. In 2007 the first exhibitions arrive. She has countless collective and personal exhibitions throughout Italy Rome, Florence, Naples, Modena, Reggio Emilia, Venice, Parma, Bologna, Piacenza, Genoa, Ferrara Mantua, Bergamo, Ostia, Milan etc. Among the most important galleries: Wikiarte Bologna, Mazzoleni Alzano Bergamo Foundation, MAD Mantua Gallery. Her artworks are present in various art catalogs: among the most important CAM num.56 Mondadori 2020 with a page and a short article "Sensazioni Mondadori" Wikiarte 2 pages Liburni Arte "With 3 pages. Various prizes assigned to her and prizes won. The criticis received from the various experts among the most important: Renzo Mezzacapo Art director,  Denitza Nedkova critic Ferrari journalist, Borgognone journalist.

Observing, observing oneself, observing something ... The dominant detail is what strikes the first glance at the art of the Reggio painter Elisabetta Manghi. The synecdocal method of representing unity with its own element betrays careful observation and selection of the subject that generates the image. The result, metonymic like the creative method, is an art of photographic setting, influenced by surreal vision, but onest like the magical realism of Frida Kahlò. The femininity of the expression is broken by the dominant presence of a detail, chromatically contrasting with the bichromate figuration, which becomes the focal point and unbalances any unaware symmetry of classicism. The careful observation, the dedication to the single element, the attention to the partial representation of the form brings Manghi's modus operandi closer to the much discussed artistic voyeurism democratized by the process of creating the photographic image. On the one hand, this voyeuristic mechanism becomes a widespread form of entertainment, we all take pictures with or without reason, but art allows a specific analysis of the form and its components, real and not descriptive, which will generate, after the figurative banquet of photography, pictorial results such as that of Manghi. Intrude, going beyond and distorting reality with a true and unimagined image is no longer the priority of the photographic medium. Painting takes possession of it, creates currents such as Narrative Art and transgresses, pushing itself to the conceptual Voyeurism of the performers. From this point, having observed reality in all ways with a voyeuristic attitude, the artist turns to himself. Manghi's artworks show, yes, a careful observation of reality, but above all a precise formalization of the artist's internal and intimate movements which, by observing, the viewer appropriates. Portraits that, through a face, a body or a single detail of them, serve the observer to observe himself. From a stylistic point of view, the influence of artistic phenomena of the mid-nineteenth century is undoubted. Such as Surrealism or Magic Realism, especially in the setting of the image and the treatment of forms. However, there is also the ascendancy of that classical art that from the dramatic brushstroke of Gentileschi to the sensual tones of O'Keeffe outlines a whole history of female art, which Manghi follows and confirms through the chromatic choices and the model of light. An artistic work that, with the stylistic and executive figures of painting and photography, completes the circle to which every artistic work undergoes: observing, observing oneself.


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