Critics - DeLord

Vai ai contenuti

Menu principale:

Critics

s

s

Introduction of the personal exhibition at the Circolo della Stampa

Prof. Enrico Conti

Trieste, July 1972

Self-presentation at the personal exhibition at the Circolo della Stampa

Amedeo De Lord

Novara, June 1972

Article in the journal ‘Qui Veneto’ for ‘Galleria Il Giorno’ exhibition

Sergio Dall’Omo

Milan, December 1973

Article written for the art-magazine ‘D’ARS’

Luciano Budigna

Milan, February 1974

Article for the personal exhibition at the ‘Leone’ gallery

Gradiente – Tradate

February 1974

‘Diario Noticias’ review for the Yacht Club of Rio De Janeiro exhibition

Walmir Ayala

Rio, May 1976

Amedeo De Lord Rinaldi

Paolo Levi

Milan, 1996

s

s

Introduction of the personal exhibition at the Circolo della Stampa

Prof. Enrico Conti

Trieste, July 1972

s

The philological derivation of the ‘Gestalt’ constitutes the cultural support on which De Lord bases his vision, consequently any development in the study of the design is the direct result of a precise series of visual operations in which the iconic image is identified by the process of the composition, of which the organisation of formal order and the specific structure form an integral part: whereas morphology is expressed through rhythm, space is defined through the gradual perception of layers. Colours are graded, rigorously consistent with repetitive sequence.

 

The expressive process appears clear, purified, liberated from the ‘denotatum’, the representative content, symbolic, literary, naturalistic, anecdotal, superficially optic, etc. The formal sequence, the chromatic interrelations lead to the visualisation of various shapes in proportional relationships subject to interpretation in compliance with perceptive unity; consequently the choice of style becomes abstract.

 

The origin of the harmony between the expressive media resides in the polarity tension of the organised sequences, in the rhythm which distinguishes them, in the definition of the overall plan of space and not in the sterile and gratifying search for the aesthetic or hedonistic.

 

The perceptive experience in physiological units substitutes for the experience of optical vision, full of gaps and fragmentary: the harmony coincides, as always, in every culture and in every authentic artistic expression with the purity and the rigour of the linguistic resources; the matrix of the visual operations of De Lord is geometry.

 

I believe that in the rise and fall of transient fashion in art and in the chaotic overlapping of the trivial camouflaged by ideological implications, in the success of cultural mystification, in the whirl of gratuitous gestures of rupture and negation, in the panorama of obsolete tendencies, in the positive, effective and constructive position of De Lord lies the most authentic guarantee for the qualification of his work in contemporary art.

 

s

s

s

s

s

s

s

Self-presentation at the personal exhibition at the Circolo della Stampa

Amedeo De Lord

Novara, June 1972


Nothing is accidental.

Nature is form, equilibrium, symmetry, proportion, rhythm, energy: we are an inherent part of it. Structure, growth, development are regulated by laws which obey a geometric order which in turn determines harmony. My paintings are a combination of relationships between various focal points, lines and surfaces which aim to determine and visualise, through shapes and colours, structures in space and organised spaces, natural processes.

My search has its roots in nature and geometric harmony.

a

s

s

s

s

s

Article in the journal ‘Qui Veneto’ for ‘Galleria Il Giorno’ exhibition

Sergio Dall’Omo

Milan, December 1973


The stylised geometry of Rinaldi. When I first met De Lord Rinaldi I was struck by his stylised geometric forms.

I remember telling him that that I would be interested in finding out where that road, which for so many has proven to be one way, would lead him. He replied that for him geometry did not represent a static situation out of a textbook but rather the fundamental aspect of the dynamics of the universe. De Lord interprets the cosmos, from the simple shell to the body of stars, to the radiation and reflections on water as specific facts and not as mere conjecture. At this stage the question is no longer whether the limit is reality or abstract, the figurative or the non-figurative; it is the concept of essence which changes in the sensorial perception. For De Lord the esoteric aspects of objects and phenomena, the secret radiography is revealed in elementary terms which are sufficient to accomplish the complete design.

But in the world of dynamic archetypes which explode on the basis of metaphysical gravity, the concept of this artist dwells on the dualism of forces, centrifugal and centripetal.

It is not a case of optical art in the strictest sense, although the comparison would come easily…

s

s

s

s

s

s

Article written for the art-magazine ‘D’ARS’

Luciano Budigna

Milan, February 1974


All modern painting, from the geometry of Cézanne to the improvisations of Kandinsky, from supremacy to neo-plasticism, can be fairly easily brought back to fundamental laws of scientific aesthetics; not to mention optical art and structuralism.

The extraordinary purity, the exceptional intensity of Amedeo De Lord Rinaldi’s pictures has its roots in this intellectual attitude, or more precisely in this spiritual disposition.

It is clear that such convincing poetic result, such as displayed in the pictures and graphics of the young Veneto artist cannot be conceived as the mere conformism to a ‘trend’ or ‘current’ or other ‘-ism’: they represent without doubt the highest manifestation of an artistic temperament capable of disregarding the influence of external cultural knowledge.

Regarding his professional curriculum, De Lord Rinaldi is fully qualified, as can be observed in his biography. Nevertheless, the schools, courses, the apprenticeships under masters of ‘visual design’ would have proven useless under the academic rigour and the narrow, almost Calvinistic influence of the technical commitment if there did not exist in him a creative tension, an impetus of idea, an emotional motivation, a stimulus to turn image to fantasy (often brought about by natural elements such as the concentric circles of a tree trunk, the spiral of a shell, the structure of an insect) which fully confirm him as a true artist.

In his more recent works, De Lord Rinaldi has managed to express his ‘Weltanschauung’ in a more exciting and dramatic way; the vertiginous geometric structures (he himself has stated “my search has its roots in nature and in the harmony of geometry”) appear to flare up as a result of an interior charge of vital energy.

a

s

s

s

s

s

Article for the personal exhibition at the ‘Leone’ gallery

Gradiente

Tradate, February 1974


On the 9th of February a lively and interesting exhibition was inaugurated at the ‘Leone’ gallery of Tradate…

The works on show demonstrate the precise and well-defined personality of the artist.

Indeed, although it presents themes which are comparable to those currently in vogue, cannot be rigidly ascribed to any particular trend.

Geometry is evident as the basis of the structure of his works, yet does not dominate.

De Lord could be described as a poet. This can be deduced from his way of presenting of presenting us with a world of serene, limpid images; it can be read from the choice of chromatic rays, inserted in the texture of the forms in singular and extraordinary ways, with an almost musical quality.

The freshness of the colours, the inventiveness of the forms, the structural dynamics make De Lord’s work fascinating. He paints meticulously, in an aesthetically admirable fashion, and expresses himself in a clear, personal and contemporary idiom that contributes a very personal approach to the visual and artistic experience of our time.

a

s

s

s

s

s

‘Diario Noticias’ review for the Yacht Club of Rio De Janeiro exhibition

Walmir Ayala

Rio, May 1976


On the 3rd of May, the exhibition of the works of Amedeo De Lord Rinaldi, an Italian artist, will be inaugurated at the Yacht Club of Rio de Janeiro.

Curiously tied to the ‘Optical’ school in art, Rinaldi succeeds in manipulating geometric possibilities with a balanced sense of technical perfection, whilst remaining aware of the relation to reality to which all humans are committed.I have written before that nature is informal, and that geometry was invented by man in order to construct reality on the basis of reason and mathematics.

Amedeo De Lord Rinaldi is a perfect representative of this process. In each of his works, the eye of the beholder is gratified with the harmony transmitted by the lines, labyrinths and progressive structures, all in harmony with nature. The internal movement of The Knot or of the Caramugia shell reveals a rigorous play of forms, as is the case of many modern artists, including the Brazilian school (Rossini, Perez, Ana Leticia, etc.).

Certain pictures, in which the various layers are intertwined and concentrated, cannot help but spur the recollection of a rose, or of leaves of certain luxuriant flowers. There are horizons, paths which organise themselves to meet a base point.

There are games which appear to be pure result of scientific instruments, but from which emerge reminiscences of nature, of floating petals, or of eventual designs of sound waves in the transparent air. We are presented with an artist who is conscious and secure in his craft, an artist who can find fertile ground among us for his research and communication.

Above all an artist who, having adopted a rational approach, is able to humanise it with the everlasting sense of dreams and life on which he bases his work.

a

s

s

s

s

s

Amedeo De Lord Rinaldi

Paolo Levi

Milan, 1996


His works go beyond the expressive research associated with the ‘Optical’ school of the sixties and seventies. In his artistic endeavour, several elements emerge to marry the meaning of geometry in “movement” with a specific research of light. Moreover, the “moduli” develop toward infinite space with beautiful chromatic counterpoints. De Lord Rinaldi is a true innovator who looks to utopian research with an attentive love and a lack of presumption. He poetically commits himself to the optical and spiritual unity of the equilibria that guide nature, always steering clear of redundancy.

a

s

s

s

s

 
Torna ai contenuti | Torna al menu