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Giovanni Cavazzon |
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MARTA DI BENEDETTO from Giovanni Cavazzon Giovanni Cavazzon, who in reality
is a scenographer, was an art teacher until 1987. He graduated in It is the setting of a stage
character which marks the start of his study into the pictorial portrayals of
figures. Taken while posing directly, his first models were bathers along the
beaches in Bibione, ordinary people caught while living out their everyday
lives. A portraitist on commission is born. Still today he portrays figures,
more or less famous, from the world of theater. Aside from the individual’s social
importance, the artist captures the personality of the person portrayed,
going beyond the photograph, and bringing to life a gallery of
psychologically characterized images. What we see are true works of art
which dwell on the study of people and which are not simply mercenary
portraits. One quick look at his pictorial cycles and we understand that
Giovanni Cavazzon possesses a well-defined, consolidated personality as an
artist. His Venuses, for example, are the fruit of a conscious process of
thought on Venus as a classic figure, as a goddess, but not only, with
continuous erudite references and personal observations. From the marble
statue to the figure in flesh and bones of the model, Venus is the essence of
women, the mother of femininity, the very symbol of what female sex
represents: life. Beauty comes to life inside wooden
crates with polystyrene on the bottom. The allusion is to transferring works
of art from one museum to another along with playing a subtle game of irony
on mythical figures full of erudite references. This marks the beginning of
the many tributes to masterpieces of the past, such as The Bather of
Valpinçon (Le Baigneuse Valpinçon) by Ingres and the nude by Manet in his
Luncheon on the Grass (Déjeuneur sur l’herbe). Not very conventional
references if we look at Luncheon on the Grass (Colazione sull’erba) by
Giovanni Cavazzon, where Manet’s lunch is reduced to an apple cut out of
plywood and buried in a layer of polystyrene. And similarly in Venus at the Cavazzon is a painter between
memory and modern times, as are his works between a pictorial genre which is
pure and simple and the installation. Indeed, many of his works have real
thickness, given the presence of polystyrene and cut out plywood added to the
frames of open crates. Just think of Paris and Aphrodite, for example,
similar to the following Apollo and Daphne, where the male figures are placed
along the outer limits of the painting, with an attempt to characterize
through their different material consistency man’s real extraneousness with a
woman’s world. From the commissioned portraits to
the more personal works, Cavazzon never ceases to make the claim that the
portrayed subject can become a possession of the painting, living within it,
and turning it into the real portrayal of an image of the mind, created by
the painter’s imagination. |
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