Reviews

The human being leads its existence maturing the commitment of a constant translation of the universe that envelops him; he transforms the spirit in paradigms, the essence in facts and measures.
In his socialization he chooses to express the cosmos’ soul as “concepts”, through the recognized and recognizable language of the ratio.
The artist Rossetti inverts and subverts the ordinary communication, translating the opaque body of the world’s structure in the explosive vortex of its essence.
He doesn’t renounce to paint the reality with a defeatist attitude; on the contrary he is conscious of the spirit that animates it, and he gives voice to it, amplifying it with the power of colour and relief.
Facing a Rossetti’s work, it seems that he helps us to jump in the heart of his paintings.
The observer becomes an integral and active part of the work: he adds his own spiritual contribution because is involved (and not overwhelmed) by the teacher’s art, and ends up recognizing himself able to understand, feel and respond to this spiritual sound.
Rossetti seems persuaded by the Immortal Spirit narrating to his spirit the not revealed meaning of things.
On reflection, the spirit of the artist seems to emulate the Lord’s generosity, leaving the eye of those who admire to open up to deep truths.
In the virtuous circle of “receiving truth to donate truth” is hidden life; a life that is not lost because it’s transmitted from one soul to another through the “code of Love”: the only language accepted and recognized by the artist.
Dayana Di Iorio

One of the most common reviews directed at non-figurative painting of the twentieth century – the Vanguard, as is known – is to have not founded widespread languages between the endless mass of painters that represents productively the large base of the pyramid’s Art. It is not an unreasonable critique, because has also existed the claim to assert the opposite. If today the majority of the ordinary artists is still figurative, it means something has failed, and this is certainly not attributable to who should have been the first beneficiary of the expressive innovations. But there are also non-figurative artists who are just as those of twentieth century would have liked. Claudio Rossetti is one of these. He manages the informal abstractionism with the naturalness with which others paint still life or sunny seascapes, almost like if it is a language learned and practiced since the days of school. No one should be surprised. If we think about it, it’s more natural to express oneself without any accurate reference, except the pure creativity, than to portray the world in all its complexity. Rossetti knows very well the children, with whom he undertook learning projects of extreme interest, also targeted to help the most problematic. Well, as children, when we started to make our first scribbles, we were all informal abstractionists. Then someone told us that we had to do in a certain way, and so we have started to represent the appearance of the world. In art history, however, the path seems reversed: first, when the man aspired to live according to nature, he tried to reproduce it as mimesis, imitation; then, when the culture has prevailed causing in art a strong process of intellectualization, man has tried to forget the mimesis, that in the meantime, with the discovery of scientific perspective, reached levels of extreme sophistication. On the contrary, he wanted to recover expressively the childish virginity, so much so that the best-known and representative teacher of the twentieth century, Picasso, declared that his greatest aim was to be able to paint like a child. That’s why we use to consider a “childlike” painting (such as those of Rossetti) as the result of an intellectual acquisition, in opposition to those who paint fruit and seascapes more or less as it was before Picasso. But Rossetti clarifies the ideas once and for all: if in him there is intellectualism, everything is reduced to the knowledge of the others, that is the abstract informal developed in the last century. From this “Abstract” are born own techniques and methods: from “tachisme” to abstract expressionism, in the sacred combination of gesture and sign; from the taste for the pattern (composition based on a regular scheme), to that for the texture (the warp obtained through the repetition of a single module). To all this grammar, applied with diligence in supporting the lyrical analogy between painting and musical score, but also with the pleasure of taking unexpected exceptions to the rule, Claudio Rossetti adds a content of particular thickness, not connected in an obvious way to informal abstraction and often considered lay, if not agnostic: religion. Every work of Rossetti is a biblical canticle, a Franciscan laude in which “sister light” and “brother colour” better contribute to honor the glory of God. Here it is another discovery of Rossetti, the abstract as a representation of the unrepresentable, direct emanation of the spirit in his longing for the absolute divine. If the priest too had understood this, the modern churches would be full of informal, instead of so much mediocre figuration, by favoring decisively the affirmation of this artistic language.

Vittorio Sgarbi

Claudio Rossetti’s painting turns and twists the usual methods of artistic communication, by proposing a whole new language to talk about the reality, about what surrounds us. Rossetti does not renounce to the concreteness of the themes he deals with, but rather he changes their  characteristics, gives them depth and materiality with his dense and thick brush strokes; he emphasizes their importance by using a wide and  brilliant colour range. Although the artist distorts this language, never renounce the spirituality of his message. Rossetti’s informal abstractionism therefore becomes the new reading key of a common feeling, the spiritual response to our questions.
Rossetti pays homage to the Lord, and with his art allows us to enter where, often, the human soul does not arrive, involving us in an experience which is not only artistic, but mystical and spiritual.Rossetti’s works are universal messages; an invitation to look at the world through the eyes of the soul, leaving space for the good feelings without getting lost in materialism and selfishness by which the man is often overwhelmed.
Josè Van Roy Dalì
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