Fur Loss And Flaking Skin In K9

The World of George

December 25

with timid fingers caress the canvas

unfinished

day in your home

Nothing changes on the threshold of stinking cold winter

I wore the dress better looking

more chaste in that day of tears exuded

Spiritual reading - Giorgio Meroni - oil on canvas 60 x50

Sun among the clouds - acrylic

Verezzi -Via alla chiesa - acrilico

Hanno detto di lui

"Una via di mezzo tra cubismo e spazialismo, senza trascendere e nell'uno e nell'altro, così da consentire la nascita di una spiccata personalità.

Indubbiamente l'artista possiede una carica emotiva di alta concentrazione che permette certi arditi accostamenti cromatici per creare profondità nuove e dare corpo a cento punti focali, tutti essenziali alla coralità del quadro, tanto da formare una bilanciata armonia composiiva".

                                                                                                                    Victor Spoils

"These paintings are departing from reality and then transfigured with a kaleidoscope series of bright shades that play between solids and voids, forming a lattice abstract and autonomous.

The great light fades and blends the old and new, the Bad and the Beautiful ....

The eye of the painter has discovered the secret of this beautiful Liguria: the green gone, the landscape has remained humble, however, a large sun ... "That seems able to heal the wounds. It 's a beautiful illusion, especially for those coming from outside, and it is right that the Meroni has fixed on the canvas giving it, of his considerable stylistic rigor. " ; ; Sergio Paglieri

Giorgio Meroni nato a Erba il 25 dicembre 1929 laureato in filosofia all'Università di Milano ha scritto della sua arte:

E' senza dubbio, difficile parlare della propria pittura. Se lo si fa, stimolati by the demands of exegesis of the observers, one can, if you are able, to give of its kind - literary - a product even interesting, but it is likely to offer something that stands by itself, a second work, which perhaps defeats the first . On the other hand, if the artist feels, although not required, to present to the public, is that you may obtain a stimulus to self-clarification and improvement of its lavoro.Per example I can say, first of all, that behind my painting , there is - and perhaps there should be - seen as a poetic philosophy, nor an ideology. I have never - or almost. felt the need to translate, in pictorial language, a system of cultural content or some repertoire of ideas. Not even to express the concerns, the anxieties, or more simply, the moods and impressions that can become stories or, however, speakable, and to ensure that my work "say something". I just express " vision ", the painting is not for me, if not primarily a language that did not - and has not - other means to survive and take hold, but itself.

Tecniicismo and virtuosity of the image, then?

could lead to this conclusion, the intricacy of the composition, the various overlapping and interpenetrating planes, the frequent extensions of lines to and from the proliferation of ever more numerous focal points, the constant light counterpoint - space, not a wax trend ripetiitiva signs and inlaid color by prospective games. Items, all, all new, anyway.

Although, on this way, she still has, much to walk and sweat like a good craftsman, I think, to say that the technical apparatus is, in my painting half. But this

removed, which can stay?

a lyrical vision of reality:

of reality and look at me curious and almost always fascinates me, although sometimes too familiar, the plaintiff, changing, also whip and ugly, if you will, but that motivates me to go further, while not denying it, a kind of banal trip from objectivity and perhaps apparent, to a poetic objectivity and, therefore, more consistent, whose elements are, above all, space and light, seen as essential dimensions of a pictorial vision.