Tano festa biography examples

Tano festa biography examples: Tano Festa (Rome, - ), an

After completing his education in philosophy and photography in Rome, Festa wrote poems that he distributed to the people in Piazza di Spagna. He lived and worked in working-class neighbourhoods and was perceived as a dangerous individual by the police. Festa exhibited for the first time in with Franco Angeli, Mario Schifano and Giuseppe Uncini at the gallery La Salita in Rome, which would present his first solo exhibition in These sketches are seminal, in that they show the careful reflection preceding his final works.

He was particularly attracted by the mystery and multiplicity behind the pure reality of objects, which in his canvases were translated into blue fields, red cities and shocking lighting. Adhering to informal and gestural art, he painted monochromes and objects of everyday life, especially shutters, mirrors and windows, which had been fascinated him since his childhood.

In an interview from he would state that in that period he found inspiration also in the work of Matta, Tobey, De Kooning and Pollock. In he enrolled at the Art Institute in Rome and graduated in After an informal beginning, in Festa abandoned gestures and produced his first monochrome paintings. He favoured the colour red furrowed by strips of paper soaked in the same colour, which vertically mark the surface of the painting.

In Festa began to mark out the surface of his paintings no longer with paper, but with wooden strips arranged vertically at irregular intervals. These were the new works that the artist presented at his first solo exhibition in at the La Salita gallery. The wood, replacing the paper, contributes to give a more objective aspect to the painting and the use of industrial paints definitively distances any emotional participation by the author.

Inhe participated in the Venice Biennale.

Tano festa biography examples: Tano Festa attended the Art

SinceFesta has also focused on the masters of the Italian Renaissance, in particular Michelangelo, interpreting his subjects as advertising images "From Michelangelo I",private collection "From Original Sin 2",private collection. InTano Festa was invited to participate in the Quadriennale of Rome. After a difficult period of poor creativity and lack of recognition by critics, inthe artist was invited to the Venice Biennale.

Festa enrolled in at the Art Institute in Rome, and graduated in in artistic photography. During these years he hung out with some of his peers who also became renowned artists, such as Mario Schifano, Franco Angeliand later Jannis Kounellis and Mario Ceroli. In the same year he also participated in the XII Premio Lissone and many other exhibition opportunities, consolidating a good level of interest that critics were beginning to show in his work.

The relationship with the critics was fluctuating, as for some periods other artists were preferred to him, leaving Festa somewhat on the sidelines, but in the s some innovations in his pictorial production aroused interest in him again. In he established a new collaboration with the gallery La Tartaruga, and among its rooms Festa met Giorgio Franchettiwho would become his main collector and supporter.

Tano festa biography examples: A leading figure in the

Two daughters, Anita and Almorina, were born of the union. After traveling the world and participating in several major exhibitions both in Italy and abroad, Festa meanwhile battled an illness that took him away in Rome on Jan. At his side was journalist Antonella Amendola, whom he had met in In these works the canvas is covered with strips of paper, soaked in the same color as the background, so as to give it greater vertical thrust.

Festa very often uses the color redof a tone that is similar to that of blood, in contrast to the vividness found in his friend Mario Schifano. As early as the following year, Festa replaces the paper strips with wooden slats and uses industrial paints, so that the new works show an understanding of the painting as an object. The peculiarity of these furnishings is that they turn out to be without hinges, handles or locks, thus becoming inaccessible and losing their primary practical function to become art.