Vincenzo Parea - Reviews

 

The following have dedicated critical essays and introductory writings to the works of Vincenzo Parea:   

Giulio Carlo Argan, Bruno Bandini, Riccardo Barletta, Carlo Belloli, Claudio Beccaria, Marco Beretta, Antonio Calderara, Domenico Cara, Claudio Cerritelli, Alfio Coccia, Mauro Corradini, Dadamaino, Federica Dafarra, Giorgio Di Genova, Giovanna Fiorenza, Julio Flores, Giuseppe Franzoso, Carlo Fumagalli, Isabella Giardini, Flaminio Gualdoni,  Friedrich W. Heckmanns, Lucrecia Vega Gramunt, Dino Marangon, Attilio Marcolli, Francesco Marinone, Giuliano Menato, Marco Meneguzzo, Guido Montana, Elena Pontiggia, Federica Rabai ,Claudio Rizzi, Nanni Rossi, Luigi Sansone, Giorgio Segato, Cristina Portioli Staudacher,   Alberto Veca, Annalisa Vella, Francesco Vincitorio.

 

“…The artist’s ‘communicating means’ is, in fact, specified solely in ‘colour values,’ exalted beyond relationships of tones by a dynamic tension of luminous contrasts which lend each work a sense of fascination and mystery … Reality, at this point, is no longer conceived as an objective factor, but as an intellective element rendered concrete exclusively in the created work, with any generating relationship with the outside cessing; the created work becomes an ‘autonomous situation,’ and therefore an intuitive and provocative creation of intellective moments for the observer …”

GIUSEPPE FRANZOSO, from the catalogue of the personal exhibit at the Galleria Valori, Milan, 1972.

 

“…. The exhibition by Vincenza Parea at the Centro Valori, appeared like that of a youth who has opened before him a whole series of interesting perspectives. If the research to which he has dedicated himself develops in the way we have reason to hope, the name of Parea is destined to become one of the most significant promises which will have come to fruition in these years … What makes the work of this young man worthy of attention is the order of the composition, without adjectives, the logical cadence of the rhythms and the completely abstract arrangement and  is rendered sensitive through the spirituality of colour…”

ALFIO COCCIA, from “La casa” year XXXII no. 4, 1972.

 

“…The extremely calibrated relations of tones, rigorous juxtapositions of spaces, thus assume an essential  function, primary and irreplaceable, in the creative and communicating context of Vincenzo Parea, instituting, in the materialization of their internal relationships and interactive exchanges of values, the exact symbolic dimension born between the aesthetic creator’s conceptual thought and the emotional feelings of man as artist. It is here on this invisible thread of interconnected technical and spiritual motifs that Vincenzo Parea weaves together the web through which his word as an artist becomes alive, and speaks, to those who are drawn near, through the silent poetry of an arcane mystery...”

GIUSEPPE FRANZOSO, from the volume “Strutture liriche” [Lyric Structures], Vigevano 1973.

 

“…The structural solution Vincenzo Parea proposes tends towards establishing a reciprocal interaction based on the common experiential denominator of the reversible relation instituted between ‘form and colour,’ and on the psychological implications the weaving of such solutions emanate on the progressive results obtained …”

GIUSEPPE FRANZOSO, from the catalogue of the personal exhibit at the Galleria La Darsena, Milan, 1973.

 

“…Space, as a field in which to operate, is qualified in a function of space as an object; a logical combination of the elements contained within it. The surface is defined in backgrounds of the structure, organized in the thought-out variability of its dimensional relations; its colour is introduced as a motif determining the intervention of the perceptible within the rigour of rationality… Space becomes colour: colour becomes motivated reality of thought. The image, in becoming, is evoked as a significant unity. Vincenzo Parea analyzes the possibilities of such a becoming, within the limits of its own measured intention…”

GIUSEPPE FRANZOSO: Vincenzo Parea “Spazio Oggetto,” notebooks from the Studio V, Vigevano, 1974.

 

“…In the operative aesthetic, the chromatic strategy does not create objective events, it does not serialize the lyric game of rationality, but experiments with its reflection … Monochromy is a genre of constructive diligence created on resemblances of a relation of order, never on the language of elusion…”

DOMENICO CARA, from the catalogue of the exhibit at the Galleria Arte Struktura, Milan, 1975.

 

“…having said this, however, very little has been said with respect to the pregnance, the sublimation the artist operates exclusively with colour to revisit the universally renowned poem. He does not fear the confrontation before such grace which, rather than having it succumb, exalts it. The reason for this is that the author of the chromatic interpretation of the verses is a pure man, unassuming yet laborious, sensible and mystic, and thus very close to the seraphic creator of the canticle…”

DADAMAINO, from “In Nomine Naturae”, Milan, 1980.

 

“…it appears to us, in fact, courageous to react to the contemporary clamour of the various paracultural behaviours with a tessitura of the silences induced by colour; with a search for deconstructed chromoformal neutrality … Vincenzo Parea has by now singled out a personal dialectic of the intervisualization which well justifies the progression of his research in this same direction …”

CARLO BELLOLI, from the volume “Cromofanie in sinossi strutturali irriferenti: Vincenzo Parea,” for Arte Struktura editions, Milan, 1983.

 

“…The work of Parea has brought to international concretism new possibilities of achromatic interaction, where colour is proposed in a rhythm of expansive optical succession, virtually magnetic. The realities of a painter who, exceeding the law of great numbers, tends to an infinitely creative and inexhaustibly constructive becoming, and not of a blind progression of the non-objective…”.

CARLO BELLOLI, from the catalogue of the personal exhibit “Lucicromie ministrutturate: Vincenzo Parea”, Arte Struktura, Milan, 1983.

 

“…the interest his studies in the field of chromology have aroused in renowned theorists and critics, render truly necessary a specification which informs the interested public of the road travelled thus far by the artist, testifying to his current results …”

GIUSEPPE FRANZOSO, from the catalogue dedicated to Vincenzo Parea by the Civic Art Gallery of Vigevano, 1984.

 

“…and this means rendering homage evidently to Parea’s operative ability, to his craft in painting, redeemed from sensational effects and led back to a discipline in which his quality coincides with the disappearance, or lowering to limits of legibility of manual intervention, of the brush stroke just as the drawing on the table. To be sure, in works such as those of Parea, linked to the essentialness of form and to a chromatic palette for each work reduced to several gradations of the same colour, technical ability proves an absolutely necessary element, without which the entire expressive system would otherwise risk being distorted …”

ALBERTO VECA, from the catalogue of the personal exhibit “Sequences of Form – Colour,” Milan Philological Circle, Milan, 1992..

 

“…summing up: no portrayals, no true lines, one sole colour. A colour which is, however, intense, absolute and pure; never contained by anything except the confines - external, perfect, dilated - of the square support. What is, then, the reality asserted by Parea? In the most disenchanting manner possible, he shows us colour as emotional infinity. A voice bordering on silence. Juxtaposing several paintings by Parea one alongside the other, we feel in succession the voice of that red, that blue, or that black. And this voice strikes not so much our perceptive organs as our very soul. We draw from it emotion and sentiment, or together a total vibration that is free of conditioning…”

RICCARDO BARLETTA, from the catalogue of the personal exhibit “A voyage into colour as infinite.” Galerie Regio, March-Hugstetten (b.Freiburg), 1993.

 

“…Having chosen a colour, Parea begins to lay down the pigment, trying to avoid any residual subjective implication in the modulation of the conduit, any surfacing expressive emergence in discernible brush strokes which, contrarily, are mitigated through reiterated spreading and sanding down, superimpositions and abrasions, until drawing as close as possible to the uniform, internal saturation of that special tonality. In any case, one must not think of the invention and execution as two distinct moments, as two separate steps. Rather, they are a dialectic development of choice and emersion of image, which finds its realization in the moment of initial rarefaction of determinations, intended as the unjudged, unaffected plurality of future potentialities…”

DINO MARANGON, from the catalogue of the personal exhibit “Vincenzo Parea. The origin of colour.” Verifica 8+1 Cultural Association, Venice - Mestre, 1994.

 

“…It is colour, then, that moves towards the spirit of man, and not the contrary. It is the artist that makes of colour his own communicating language, sending his message to whomever observes his work (...). We find ourselves before an extremely refined colouristic monody of the spirit, in which its thickness of hue assumes the role of allowing the spirit of the observer sensitive to the beauties of pure emotion to vibrate with lyric pulsations... ”

GIUSEPPE FRANZOSO, from the catalogue of the personal exhibit “Vincenzo Parea, or colour as a spiritual emotion.” Fluxia Arte phono-visual gallery, Chiavari (GE), 1996

 

 "...For him, colours are sublime values of tonality of the same colour, and modulation from one colour to others within the spectrum of the colours themselves, on the condition that they are part of the same degree of tonality. So it is for the "strutture liriche" [lyric structures], the name Vincenzo Parea has given to his first edition of serigraphs from 1973, as they transmit a quality of expression, rendered possible solely through the calculation of values of tonality of colours, and expression which normally in language is attributed exclusively to poetry (...). Despite the fact that these studies in colour aim for the observer’s meditative attention, and bear as a result a surprising poetic (...). Rather, to create objects which help the colour to create its own existence, and therefore not be characteristic of the colour of anything, not even a temporary state of mind. Only in the observer’s attentive perception can this life in itself take form. The painting is, in the words of Giuseppe Franzoso, an allegorical musical score..."

FRIEDRICH W. HECKMANNS, from the volume “Geometrizing Imaginations,” Galerie Regio editions, March Hugstetten (b. Freiburg) 1996

 

“…This spatial continuum transforms itself into pure music, into a score in which the notes rise or fall in proportion to warm or cool tones, in composing a symphony given by the sequence of invention, but with multiple independent existences in its realization. A potent art which is impressed with force in the observer’s perception, and which, in stretches, can be dismaying; the work of Parea requires proper time for meditation in order to be interiorized, studied, understood (...). We can come to judge as pure vibration the aura expanding from the tables. Poetry and music, feeling and geometry, emotion and calculation, extraordinarily fused and indissoluble…”

FEDERICA DAFARRA, from the catalogue of the personal exhibit “Vincenzo Parea: colour invented,” Santa Maria Gualtieri, Pavia 1999.

 

“…To approach the paintings of Vincenzo Parea means diving head-first into an emotional universe capable of allowing all the strings of one’s feelings to vibrate, arriving at a sense of order, of balanced cleansing, generated foremost by colour. Colour that is a pure invention of the artist, a continuous study in new expressive potentialities, an unconditioned adhesion to an extremely original palette which becomes a place of experimentation and growth. (…) Straight lines and semicircles form visual connections in which colour no longer finds any limits and delineations, if not at the perimeter of the work itself.

There is no space for shadows, but new colorations tend towards the attainment of a perfection that is perceived as a problem open to multiple solutions.

FEDERICA DAFARRA, from the catalogue of the personal exhibit “Vincenzo Parea: colour invented,” Calvairate District Library, Milan, 1999.

 

“…All titles have their history, a conjuncture which has determined their coming of being. It is, in fact, out of the situation arising from the late sixties that lies Vincenzo Parea’s decision to direct his study on colour and expressivity, within a climate that is, both in Milan and internationally, attentive to the analytic proceedings on the theme, in an attempt at the renewal of a non figurative pictorial experience that might exclude the subjectivity of a generically abstract language that was judged as arbitrary. Hence the interest for scientific experimental studies, experiences no longer linked to intuitive sensibility but to the systematic investigative rules which, beginning with the reflections of Goethe or Chevreul, arrived at the systematic formulations of the 20th century, significantly linked to artistic and didactic experience.

Although instruments and procedures are employed which are not customary in the world of traditional painting, the works of Parea are entirely realized from the preparation of the support, a wooden table whose imperfections are progressively eliminated, to arrive at a smooth surface, devoid of any ruggedness. The process is long and requires patience, but for the artist the commencement of the painting must not meet with any interferences, since the discourse is that of the binomial of light and colour, and as such there can be no environmental interference …”

ALBERTO VECA: ETYMOLOGY OF COLOUR, from the catalogue of the personal exhibit held at the “Superficie Anomala” [Anomalous Surfaces] Cultural Centre, Milan, 2002.

 

Speaking of the works of Vincenzo Parea , it is almost inevitable to lose oneself in the intellectual meanderings of science and colour, difficult to resist the temptation to reopen the book ‘Art and Visual Perception’ by Rudolph Arnheim, hard not to cite anything from Goethe’s theory of colours; and yet that is how it shall be!

Paraphrasing the German genius, I will approach the work of Parea by elective affinity, and thus synthetically,  just as by rigorous synthesis he arrived at his own work.

“Mandala croma,” the title of the exhibit, identifies the value given by me to the artist’s works: a medium on which the observer can concentrate his attention and activate that part of himself so close to God as it is to poetry.

From vibrations of pure colour we arrive at a true chromatic epiphany, thus bringing the spectator to an absolutely individual catharsis. From the concept of non form, or better: from the emancipation of form, bursts forth a sort of pacification with the universe

GIOVANNA FIORENZA: MANDALA CROMA, from the catalogue of the personal exhibit held at the Galleria "Borderline Arte Contemporanea", Vigevano, 2002.

 

"The intensity is absolute. The tension seems to be led to the ultimate point of equilibrium, the prelude of an intuitable but unknown infinity. Severity dominates the painting and rationality determines an irrevocably precise picture. The reason is immediately clarified in the structural rules and yet the soul of the painting emerges alive, it pulsates and surpasses the rigid syntax that relationships have. Emotionality and intellect do not wage war but live alongside each other. The systematic order in the work can only be described as intellectual, almost a code of ethics, judicial, an unbreakable norm in the process of expression. Emotion is the poetic contribution of stupor and astonishment, of silence and space, vibration and decisiveness which suggest a that the absolute totality is on a higher plain. Emotion and rationality are constant themes in Vincenzo Parea’s work. They are rigorous in perfect harmony, reciprocal..."

"...In colour, Parea walks back along the world’s path in search of tracks and the assertion of truth. It’s a return to the origin of things and of language. It is  modern anabasis. The picture calls the observer and establishes dialogue. A recollection of places and moments, an evocation of memories and states of mind. Suggestions emerge and the flow of notes will call the swing of the soul. The interlocutor will converse with the painting and Vincenzo Parea, in his secluded isolation will know, as he has always believed that colour is life without an end."

CLAUDIO RIZZI: Evanescence and nature, fraction and pulsation of colour, from the catalogue of the personal exhibit held at the MAM, Modern Art Museum of Gazoldo degli Ippoliti (Mantova) 2003.

 

“… colour takes on language. It does not want to be read or interpreted. And for its own sake, the almost monochrome pallet which projects you into  communication which goes beyond the picture and which asks you to remain there leaving your mind to go in and beyond the subject. (…) the colour, the severity, the order lead you towards new lines in which art and on its behalf, painting makes pure research, sublimated experience in colour …”

FRANCESCO MARINONE: the sublimated colour, from the catalogue of the personal exhibition in the Litta castle hall in Gambolò (Pavia); 2003

 

"Vincenzo Parea’s art plunges us into a world where light is processed transforming the scientific analysis of geometric components into spaces where chromatic scores are contemplated. Borne of the technical skill of a chromatologist the picture evokes far off dimensions; it is not limited to the observation of the structural principles of the form but openly declares its poetic nature. The charm of monochrome colours suggests rhythms and straying beyond the limits of the work conceived as the pure sensitivity of light - a dream of new horizons through the tenuous resonance of material.

CLAUDIO CERRITELLI, from the catalogue of the “Incanto della pittura” Exhibition, an exploration of Italian art in the second half of the twentieth century, Casa del Mantegna, Mantova 2004

 

"[...] Laying colour bare: in short it is a colour purification process leading to a high spiritual lyricism. Klein coined the acronym IKB (International Klei Blue) to describe his monochrome paintings, when it comes to Parea you could talk about NPC (Naked Parea Colour). Pure colour, reduced to its very essence without frills, [...]

 

PIER GIORGIO MOROSI The “naked” colour of Parea taken from the catalogue of his personal exhibition held in the Sala delle Colonne (The hall of columns) at the Town Hall in Corbetta (Milan), 2004.

 

“…. More than communicating optical information Parea’s colour wants us to understand what is happening in the procedure of inventing light, in the infinite generation of tonal agreements based on lines and not rows, the vicinity of tone, impalpable boundaries between one tone and another of the same chromatic essence… “

CLAUDIO CERRITELLI: emanation of colour – light from the catalogue of the anthological exhibition 1972 – 2005. Santa Caterina Monument, Oratorio de’ Disciplinanti, Finalborgo di Finale Ligure (Savona) 2005.

 

 “(….) Vincenzo Parea brings forth his thought  in an unending  inner search challenging himself through a slow artistic evolution that started over forty years ago (….) His work cannot be simply defined as monochromatic  because within the painting’s diameter or perimeter there are  almost imperceptible tonality movements even though  in one only colour (….)”.

 

FEDERICA RABAI: “Vincenzo Parea, the colour’s artist” from the catalogue of the one-man exhibition at the “Selva Alta” Club House. Vigevano 2007/08

 

 (....) To avoid the instability which is caused by the presence of the material, a sublime chant of the painted object. Parea dilutes the brushwork, the imprint of craftsmanship on the work, so that nothing interrupts the idea of plastic organisation where the soft, subtle game of colours, detailed in varied contrasts colours is born, where the dominant colour is presented and exposed with such delicacy that it seems to be a trick even to define it. It isn’t the polar contrasts, or those of the tints, or of the high saturations to which this artist refers, but the disturbing and musical contrasts of temperature, of such luminosity and delicate displacement that the colour provides. It is then that one discovers the consequences of all that pictorial concealment: no reproduction of one of Parea’s paintings can display that which the easel exhibits (…) while from the plastic field it seems that a light produced by an acute chromatic complement emanates. To every image, an equal sound vibration, the same as the luminous modulation has, should correspond. I believe that there, every painting sustains the poetry of Vincenzo Parea, who creates a sort of polyphony in the conformation of every work displayed (…)

 

Prof. JULIO FLORES, from the personal display catalogue “Vincenzo Parea, Chromatic Facts” Promoted by Professor Lucrecia Vega Gramunt, Director of F.P.A.C. Bologna University,   Buenos Aires Department, 2008.