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Born in Monterosso al Mare in 1944, he lives and works in La Spezia. His artistic activity began in 1960. In 1968 he won the First Prize at the
National Exhibition of Figurative Art, La Spezia. Ever since, he has taken part in numerous important exhibitions, both national andi international, for example: FoireInternationale d’Art Contemporain, Nîmes 2001; Mostra Mercato Internazionale d’ArteContemporanea, Padova 2001; Shariah Art Museum, United Arab Emirates 2001; Premio Internazionale Arte Mondadori 2001; VIIIème Exposition d’Art Contemporain, Nice 2003; Deutsches Forschungszentrum fur Künstliche Intelligenz Gmbh, Saarbruchen (RFT), 2005; Villa Nobel, Sanremo 2005; one – man shows: Oratorio di S. Filippo, Genova 2001; Galleria L’Occhio in …Arte, Roma 2002; Galleria d’Arte Moderna e Contemporanea, Pisa 2002; Palazzo della Provincia, La Spezia 2004;  Galleria Studio d’Arte La Marina, Pietrasanta 2004; Fondazione Il Fiore, Bellosguardo, Firenze 2005; Lyceum Club, Firenze 2006; The Castle of  Lerici 2007; Italian Institute of Culture, Moscow 2008; L’ArteNavale nel Golfo della Spezia - Centro Allende, La Spezia – The Ligurian Region 2008; Caffè Storico Letterarario Giubbe Rosse, Firenze 2008; Lyceum Club in conjuction with the Naval Academy of Livorno, Firenze 2008; Naval Museum, La Spezia 2008; Premio Montale fuori diCasa / Sconfinando, Centrale Termoelettrica” E. Montale", La Spezia 2010; Katedra Cakavskoga Sabra Grobniscine, Grad Grobnik, Kavle 2010; Sulla Rotta della Memoria, Cantieri Valdettaro, Le Grazie 2010; Premio Lerici Pea, Lerici 2010.  His name has been included in the Grande Annuario degli Artisti Italiani e Giapponesi Contemporanei, by Amadei – Inoura, Newport University, California 2002.

The sails of ancient vessels have become  canvases for Anselmi’s recent works, just as it happened in Venice and its surroundings around the XV century. In that period  the painting on canvases as Cennino Cennini has reminded us, had been successfully accepted, also for fittings and standards. The rough texture, treated with graphite-based primer and leather glue to guarantee elasticity, is subsequently painted with pure priming and nut-oil. The discarded sails impregnated with saltiness, energy and heavy with labour become the ideal medium of the artist to recuperate an old custom and, at the same time, to evoke other  travels and seas of  the unconscious.

 

If the artist had lived towards the end of the XIV century, certainly he would have acted as Cennino Cennini’s assistant. In his treatise Libro dell’arte  the painter illustrated all the possible techniques of the time. All this must be said: Anselmi is a master in his work, thanks to his tecno-scientific preparation and to his sensitivity, which allow him to work  precious metals with exquisite modern results, in a refined, informal language of great value.

 

Enzo Fabiani
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