Enza Di Pentima
Oasi al tramonto (1980)
oil on canvas (80x60)
particolare

Enza Di Pentima - paintress

Presentation
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It is an error to want at any cost to frame an artist in a determined current or school; and it would be even more heavy, if so should be done, talking about the painting of Mrs. Enza Di Pentima.
Every artist, worthy of such name, has his own internal world, a world that is stimulated by nature that surrounds him, for which, nearly always the artist paints is not what he really sees, but what is really inside him, or what become real inside him.
It is therefore evident that the subject cannot be held in terms of school or current in a global way and it only remains valid for the achieved techniques.
Whoever knows Enza, like I do, in her enthusiasms, her "faith", in her emotional explosiveness, in her absolute expressive sincerity and of life, free from egoistic forms and, in a certain mean of rawness, cannot not find so in her paintings.
Inside them you can find, the side of her vital part which becomes colour and transforms the world she paints, and shows it as it is inside her.
Some of the flowers that are painted by Enza are an explosion of joy, her joy, and the houses, even when the are inhabited by the humble, they do not have any splendour, they become painful humanity, they reach high in the skies that still have the signs of the past storms, that long for the sun's warm peace and that always live among the vigorous trees that are places there to protect them.
Everything is like a symbol of faith, exactly her faith in everything and everyone, even if this belief of hers often leads her to bitterness or pain.
Only under this human aspect and profile, it is possible to enter into her pictorial world, to understand it and accept it. Then it will no longer be the artistic validity in time or out of time. The validity without time will remain and the one regarding her emotions for the "created", that cannot be neither in the style nor in the current, because it is only a human mater for man of all time.

A. DIONIGI

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