Luca Alinari was born in Florence in 1943, where he lives and works. Painter, stage designer, intellectual among the most committed and creative in the international arena, in short, an artist from the versatile talent. Among the many public and private exhibitions in Italy and abroad, it is reminiscent of the Venice Biennale (1982), the Quadrennial of Rome (1986), the great anthology at the Palazzo Reale in Milan (1993), doctors Riccardi Palace in Florence ( 2000), Adler Galleys of Paris (2003), Beijin Today Art Museum in Beijing and the Shanghai Museum of Contemporary Art (2009). In 1999, the Uffizi Museum bought one of his self-portrait, now located in the Vasari Corridor, becoming part of the largest collection in the world alongside other illustrious artists such as Chagall, Manzu, Balla, Burri. Many authoritative critics, art historians, poets and writers have studied his work considered among the highest in the current art scene; among them even the Nobel Prize for Literature, José Saramago. He recently received the National Award Castruccio (2014) along with Giugiaro, Kemp and other members of the culture and medicine.
Landscapes of Alinari are defined by Goffredo Parise:
"A story without end, tucked inside a kaleidoscope, with plants, trees and flobberworms
and bacillus and trees and landscapes in a crazy dance against rainbow.
The unconscious becomes a solid rock to cling to, and from there cover both happy island
that forests and steeples and ice cream cones darting
in a sky of coriandols "
in a desert
"One morning I took a canvas and filled it with stars, with her pencil.
It was like being in the countryside, at some point looked up to the sky:
a kind of atmospheric dust,
but also cosmic.
At the same time they are also symbolic stars, they are an idea of stars.
Like almost everything, it’s ultimately a self-portrait. The irony is me: "false monk",
that is in a way but it’s really ... so even the stars are myself "
"Painting is that thing
we dont know how to paint ... "
The framework does not end at its end;
we are beyond the framework,
the picture is no longer there,
that work is not a work ...
It is a world that lives,
is something that speaks to us,
"The sacred love
and profane love
form of the other ... "
" Alinari’s artworks as a whole are extremely curious;
they contain a depth of observation, a double bottom,
that propels us beyond their immediate appearance.
And as if our world asked insistently,
urgently, to be invented again..”
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