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Home page/Biografy/Awards /Gallery /Exhibition CRITICS Color and light De Rosa's most dominant themes, still today as in the past, are a poetry of the attractive corners provided by nature and the figure(form,picture,shape etc) bound with the natural environment. The clear works with effective transparence are warm color,dim,which give the physical presence the capacity to arouse those feelings that he experiences when choosing and produsing them. the tones and half tones, in a diffused light inebriate and give the sense of the infinite. The techniques and the means he uses to express himself show mastership and artistic maturity. Living beside him one can feel the torment( travail, labour) that is the mainspring to give more and more,always better, with a stubborness typical of who lives the art. The ambition to reach a descriptive perfection inebriates him and the judgement of the public, even when it does not repay him, helps him to proceed on this route.-Vincenzo Porcelli (1976)
The absence of foreground vegetation seized like in a chromatic Kaleidoscope.-Carlo Marcantonio (1986)
Ennio De Rosa, after having temporarily abandoned his romantic and poetic themes dealing with nature and landscapes, definitely faces more difficult and suggestive subjects,such as female figures.And here the "suggestions" are represented by the union between poetry and romanticism, which he never gave up,and an exquisite representation with a vague theatrical taste and origin, with scenografhic means with aesthetic yield. The image finds a logical introduction in its descriptive phase finding a coherent consistency between the represented somatic and character features as well as the costumes and the background that outline and complete the subject. De Rosa's composition reaches an equilibrium just by using a technique of a partial division of the whole whose elements examined one by one assume a subject value but, joined into a fantastic and variegated succession of planes and elements, reachsome sort of measured and desired spectacularity.He thus produces spatial effectsby turning to pleasant plane transparencies, where the whole assumes impalpableand ethereal tones while the color-schemes,delicate and varied at the same time, scatter in suddenand almost undistinguishable lightings. And the detail, the ornamental element, though in its delicate uncertainty, attracts just for its spectacular interpretative possibility. A particular descriptive malice and a mastership of performance skills produce perturbing athmosheres for the most innocent subjects, ambiguous innocence and nudes of exotic taste and of "liberty" origin. In these cases elements such as expertise, poetry and a romantic soul blend together to seek results of certain artistic values.The whole supported by a delicate yet definite sign, respecting proportions and prospective and by colour-schemes, which though improbable, add fantastic evocations. De Rosa's elegant and exquisite girls always leave the observer uncertain about a choice of innocent interpretations and a more daring one of seductive temptations.But it's thanks to this choice,in his duality, similar to some famous and ambicious oracles, that the artist's maturity can be detected as well as his desire to display to the public the unbearable dilemma of the eternal feminine.-Giuseppe Quinzatti (1983) PRAXIS Artistica
Poetry of the silence The isolated glades and the silent views assume a sense of pause,an escape fromeveryday life. Time ceases to be a dimension to giveway to emotions of whomwants to catch the confused and enchanting lyric of nature. I the metaphysical silence the vivid colour-schemes explode.: the poppy fields, the scrubs in blossom,the meadows, the entire palette blends on the canvas.One of the artist's most important themes is so outlined: his love for color, also stressed in the distemper with pleasnt and unusual results. And the poetry of silence is again presentin his portraying women, seized in intimate and introspective postures. The figure stand out gracefully displying at the same time attractive voluptuousness, sensual yet unreachable, interpreting the fifth feminine nature in ethereal atmospheres with well defined contours, as if belonging to a fantastic world, but it's also present a love for the detail almost co-star yet never dominant,in perfect armony with the whole, in synergy with a mature and conscious composition equilibrium of prospective and proportions.-Lapis (1997)
The meeting places De Rosa's work can be placed in a sort of changing identify that yet gathers more moments in a same single principle.To the analytical attidude, almost a flemish research, investigating the scenery, the landscape, the meeting place of tiny chromatic connections, corresponds , according to an identical identity, to a study of a landscape beyond the one dealing with the body geografhy.The nude .Eve (a definition and scope declared) by herself can seem to be all or nothing, she introduces us in a code where the female body, the perfect mediterranean "Magna Mater" stretches and outstands among the blankets of a n unmentionable voyer.Abandoned nudes concealed in an endless intimacy are a possible appeal to the padded world of a alcove, but also to the modern and desolate rooms of a Californian anonymous hotel on the road.The space around us is anonymous as well, sliding threshold between identity and language. In the possibility to touch artistic truths the artist guides our attention with views and prospective ambiguities from above, or with a strong close up vision. Rooms, spaces, background of a bluish green,
painted walls encircle the bodies wrapped in shocking white blankets. With the same
landscape track identity, the artist's eye investigates and courts the nude trying to
catch the unique instants of a ritual of a moon moving when the tides go back. -Luigi Manciocco (1998)
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