Women and Men Roberto Ferri, tarantino only 30 years, however, already held abroad, with their slender bodies, perfect muscles, and intriguing poses, are a debt by the greatest Italian masters, Caravaggio, Michelangelo, Guercino, who has studied very well. But not only that. Translate dreams into images, or (perhaps) the nightmares of each of us, we have inside, we feel, beyond the senses, more or less conscious, verbalized, or verbalized. Roberto Ferri gives life, substance and form (a beautiful form) to his and our ghosts. Often accompanied by their own men and women with devices, inspired mostly by time and ancient form of a totally modern, becoming elements of our age and of his fantasies are sextants, watches rings and gears, chains, astrolabes that make it even more fascinating, but at the same time more mysterious, his compositions.
Angels and demons, spiritual aspirations and constraints of the flesh, purity and impurity are some of the recurring themes in the work of Roberto Ferri: like leitmotivs that create a game, most often quite subtle and very cerebral, nothing banal or predictable, based on a technique of painting to the highest level. "It's definitely the most technically capable student I ever met," he says Gaetano Castelli, former President of the Academy of Fine Arts in Rome and one of the most famous Italian designers. One may truly say it is a "painter by vocation": he never forgets a precept of Goethe, that 'art, good enough is good. " His is a hymn to the true absolute painting: a review, very thoughtful and introspective, some of the greatest masters of classicism.
The women and men of Robert Ferro, a thirty-year-old artist from Taranto who Already has made a name for Himself even on the international art scene, With Their slender bodies, perfect muscles and intriguing poses are inspired by the greatest Italian masters, from Caravaggio to Michelangelo and Guercino, all of whom Ferri studied closely. But there is more: his paintings translate into images the dreams or (perhaps) the nightmares of each of us; all we have inside, all we feel, beyond the senses, in a way that is more or less conscious, verbalised or can be verbalised. Roberto Ferri gives life, substance and form (a rather beautiful form) to his and our phantasms. Oftentimes, he accompanies his own men and women with devices, inspired mainly by time and ancient in form though totally modern, becoming elements of our age and of his fantasies. They consist in sextants, crowns and clock gears, chains, astrolabes that render even more fascinating, but at the same time more mysterious, his compositions.
Angels and demons, spiritual aspirations and the bonds of the flesh, purity and lasciviousness are some of the recurrent themes in Roberto Ferri’s oeuvre: like leitmotivs that create a game, most of the time quite subtle and very cerebral, in no way banal or predictable, based upon a technique of painting taken to the highest level. “[Ferri] is unquestionably the student with the greatest technical skill that I’ve ever met,” says Gaetano Castelli, former President of the Academy of Fine Arts of Rome and one of the most celebrated Italian stage designers. One may say that Ferris truly is a ‘painter with a calling’: he has never forgotten a precept of Goethe, according to whom “in art, good enough is excellent”. His is an absolute hymn to painting: a reconsideration, and meditated quite introspective, of Some of the greats of classicism.
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