THE RETURN OF ALICE
Although the art of Charlotte Ritzow dates back to recent
times, it would be wise to avoid an overly simplistic judgement of her works, which may be
a temptation due to her young age and amateur status.
Her poetic expression, in fact, has its roots in an
experimental world, learnt in her homeland, Germany, where she studied profoundly and
thoroughly the art of the palette.
Her work in Italy, and thus in different environmental conditions, reveals a certain
intermingling of learning that which accompanies the precepts of the painting
profession and elements of the magical-expressive dimension.
Charlotte Ritzow is a liberated European painter. On the level of figure narration she
betrays no nordic, expressionist nostalgia. Her works, indeed, present a consistent
solarity which is undeniably Mediterranean.
The creation of Spiaggia (Beach) brings to the fore the work of a skilled
painter having the ability to blend her own narrative ideas with the delightfulness of the
subject matter. It is a bright work: the white sail on the horizon signals and signifies
light, which floods the canvas abstractly, composed of variations of deep and light blues.
Due to her naturally contemplative character, this young artist is mainly inclined towards
a visionary, figurative-informal art, with an intimacy which concentrates on a concoction
of memories and unconscious sensations.
We can imagine how her first instructive environment that of the art classrooms of
her native country did not in the least alter her tendency to respect her own
oneiric and essential visions, indeed, to abandon herself to them through the beauty of
visual poetry.
Charlotte Ritzow has the gift of being able to draw out of each painting the greatest
possible clarity, in a forging of meanings which bear witness to her strong creative
personality.
This can be seen in Tramonto (Sunset), an impelling, atmospheric painting of
beautiful composition. Ritzow appreciates the similar themes portrayed by Nicolas De
Stael, on permanent exhibition in the Castle of Antibes, and succeeds without doubt in
capturing the same sensitivity of colour which sweeps horizontally across the backgrounds
in variations of black, yellow and orange.
The intimist accent defines and enhances the artists perception of the constantly
transfigured world of fairytale and myth. She demonstrates a perpetually lucid state of
mind by her use of allusive colours in plays of simplification. Her unique sea-greens,
with their vibrant chromatism, are a perfect expression of the innerly contemplative
spirit of the artist.
They bear witness to a strong need to exalt her own imaginative personality, as can be
seen in Solitudine (Solitude), in which a pure white sail, symbolising the
theme of the painting, seems a defenceless monologue, alone among the bright, gigantic
waves of a blue sea. The whole painting is an exultant call to open spaces, which evoke a
controlled emotional charge.
The young painter believes passionately in her own profession as narrator of abstract
feelings, devoted to the invisible and its materialisation on the canvas.
Her present (and, I am certain, also her future) artistic personality is determined by a
total autonomy, with respect to the contemporary artistic trends of so-called young
art. She avoids, in fact, medial art, brut art, conceptualism, choosing instead the
more pleasant tendencies towards an assorted world, lunar or semi-abstract, in a lyrically
figurative allusivity. This can be seen in Luna galleggiante (Floating Moon),
in my opinion, one of her most important compositions, where her understanding of colour
as a linguistic expression comes across perfectly. The painting, in fact, is a constant
play of tones and counter-tones: the yellow moonlight which blends with variations of deep
blue and anthracite black and grey, the starry sky as a lyrical palette of white dots
heralding the silence of night
Contemplating this work, it is possible to sense, and
individuate, the many disguises that a personal dream may take on. Ritzow uses those of
childhood, bizarre, extravagant, with their eternal elements of expected magic and veiled,
melancholic happiness, as in the case of Il faro di Hiddensee (The Lighthouse
of Hiddensee), in which a broad, atonal strip of naphtol carmine red overhangs a landscape
in the dark green of Hooker.
The artists landscapes appear at times poetically vague, nictating. Charlotte
Ritzow, in fact, is somewhat like her paintings. She sails alone through her personal
fairytales and myths and the warm splendour of her colours, the definite precision of her
chromatic orchestrations, leaving no room for misinterpretation or confusion.
With the pantheistic representation of the great oak tree in the impessive composition
entitled Energy, the image of Nature appears to transform itself into an
intensely fauvist expressivity, living in a sphere which has nothing of the
real, the tangible.
It must be emphasised that Ritzow occupies a singular place on the stage of young European
art. She is equally distant from the irrational flights of fancy of the recent
avant-guarde and from the idleness of a figuration which no longer seems to want to
narrate genuine poetry. Charlotte Ritzow, on the contrary, is an artist who defends to the
extreme her own particular mode of evoking the dream-dreamer, who continually finds new
expression on the canvas.
We can appreciate her ingenious freedom both of improvisation (see Il cigno (The Swan)) and of the
formal definition of a spellbound candour. Her judgement of the age she lives in is
pleasantly detatched. In every composition there is a rejection of the dramatic, of
anxiety, distress, while the world of her fantasies is blended together with the ideals of
a futuristic dream, where one day, hopefully, peace will reign.
At times, we find in the figures hints of early 1900 painting (see Il bacio (The Kiss)), which Ritzow
inevitably carries, like a creative and renewing sap, in her blood.
The dream, which transfigures both nature and the human figure (sometimes with a nightmare
quality interpreted in a slightly ironic key, as in La vendetta (The
Revenge)), adds further emphasis to the aspect of narration as an exquisitely surreal
game, perceptible in the mobility of the figures and the emblematic fixedness. What in
fact do the female figures of Charlotte Ritzow portray, if not the emptiness of existence?
What becomes of them? Where they are present in her paintings, they appear as figures in
an attitude of allarm, provoking in the observer a subtle irritation by their theatrical,
grotesque appearance.
In reality, it is above all the sea, with its blue sky, that represents the true backcloth
of her poetic world. Charlotte is, in actual fact, a kind of Alice sailing happily through
her Wonderland.
The dream-dreamer is the soul of her paintings, expressing at
once silence and sound, and crossing over each time into the realm of fairytale
abstraction - an abstraction which she causes to materialise through the allusive nature
of the figures with their atonal, radiance-evoking colours.
Special attention must be given to her sharp, chromatic orchestrations, horizontal,
unhesitant, geometric and marked. Every one of her compositions, we must remember,
expresses the situation cheeriness that was typical of the works of Nicholas De Stael and
the visions of round moons and other symbols of eternal childhood for which Paul Klee was
famous.
Charlotte Ritzow and in this lies her maturity
gives more importance, perhaps, to colour than to subject matter, which she
generally perceives with the heart. Her first thought is mainly to colour, as modulation
and density which is strewn melodiously
across the surface of the painting. The atonal colour shades thus bring together certain
wide and precise pieces in a warm, evocative mosaic, a wonderfully open fairytale, where
the eye of the observer wanders spellbound, and free from visual labyrinths.