Art Critique

From the Enciclopedia d'Arte Italiana

Architect and artist, she develops a personal artistic language rich in poetic values and intense expressiveness. Through the vibrant force of brushstrokes and dynamic movements, she reflects the philosophical idea of kinesis. In a play of light effects and depth of color, she depicts the freshness that characterizes physis, nature from which the yearning for the Transcendent shines through. With the use of bright colors and polychromy, she creates multiple geometric harmonies to make visible the words of philosopher Jean Guitton: "Colors make God immediately present to me." With her works she poetically transfigures reality; the Divine is represented even by the lightest brushstrokes that create sweet and hopeful atmospheres to enhance the symbolic meaning of Light. An irrepressible expression of feelings, an emotional involvement springs from the inimitable touches of color, juxtaposed in a rhythmic movement of minute brushstrokes and elongated lines that expand into dynamic shapes expanding in space. Her works can be defined as a synthesis of the ἄπειρον, the unlimited and the indefinite. In order to represent the truth of both the visible and external world and to reveal an unknown inner world she draws inspiration from the freedom in the movement of colors and the freshness of signs that lead to surprising chromatic developments always through a rigorous approach and the search for a formal and chromatic synthesis.


Alberto Moioli

Art critic and Editorial Director of the Enciclopedia d'Arte Italiana

"Colors 

make God 

immediately present"

 

Jean Guitton

 

Anna Ceppi's artistic language is extraordinarily intriguing because it is the result of a series of research, study, expertise and humanity. The fascination that belongs to the world of the beauty of art lies in the ability to recognize and reveal what the work wants to convey to the audience through the multitude of techniques and expressive facets. Each of Anna Ceppi's paintings is supported by a very important story linked to a truly refined culture and a deep sensitivity. Therefore, what we can admire today is an artistic expression built through her desire to bring out a painting supported by the languages she is familiar with such as architecture, music, and art history. A well-rounded artistic sensibility inherited from a family of artists and intellectuals. It is no coincidence, in fact, that in addition to a degree in Architecture from the Politecnico di Milano and furthering her studies at Harvard University Extension School, she worked for several years in the United States, combining her creative personality with a strong and proven musical competence. Elements, these, that support in depth all her pictorial activity in which the compositional rhythm and the constant search for a harmonic chromaticity, merges with an aniconic, abstract and sometimes informal language, extraordinarily musical in form. 

It was in the first decade of the 20th century that Wassily Kandinsky theorized the dichotomy between Art and Music, between geometries and colors, elements that in their sensory enjoyment, of the most attentive observer, highlighted the celebrated inner "need" of the artist, referring precisely to painters, musicians and poets.  Although with her own sensibility and personal stylistic figure, Anna Ceppi comes from this cultural and artistic sphere, her creative experimentation thus belongs to the inner search for beauty understood in the broadest sense of the term. The artist in recalling the thought of Jean Guitton, a famous French philosopher, "colors make me God immediately present," tends to emphasize the extraordinary strength of her idea of painting, managing to remain in balance between art and science as between immanence and transcendence. The artist's deep and refined culture therefore offers the viewer of his works the opportunity to ideally go beyond the canvas, beyond that "sensible" taught by Immanuel Kant in his "Critique of Pure Reason." In all this, light and the centrality of the poetic pursuit of color are authentic protagonists just as they were at the time of the Divisionist painters. Gaetano Previati, an unparalleled protagonist of that time, conceived his pictorial gesture as an expression of an idea and not as a mere depiction of a subject, an approach that cleared the interpretive path toward a freer expressive research more connected to the depth of emotions of painters like Anna Ceppi. 

Carlo Carrà in the same historical period, in fact, spoke of aesthetic representations transformed into "poems full of spaces and signs," an expression that tends to definitively free any possible academic resistance and to liberate and amplify Anna's chromatic language even more.

Against this, it should be emphasized, that the constant study of art history does not mean for the artist to have blind adherence to the movements to which I have referred. Thus, are born, supported by very deep and well-structured cultural foundations works that are particularly important in the artist's creative journey such as "spring", "palpitations of color" and "in the sun" in which chromatic harmony dances ideally on the canvas playing with a light and pictorial technique akin to a new contemporary pointillism. If with the work "SUN," Anna Ceppi masterfully inserts a geometric touch giving great compositional rhythm, it is with "E subito ne uscì sangue e acqua" that the artist elevates her art to a Gospel quotation (John, 19:33-34) reflecting on the profound meaning of the moment when the soldier pierces with his sword the side of Jesus, now dead on the Cross. The work should be observed silently and carefully because the wound that divides the painting in half is a very profound symbol through which Anna Ceppi's desire to arouse in us the desire to try to be infected by the disruptive force that art can have is clearly glimpsed. 

Cultural background, passion for music and art history converge on Anna Ceppi's painted canvases together with significant technical skill and human sensitivity, capable of investigating the most hidden depths of her soul. 


Professor Pasqualino Colacitti

 

Anna Ceppi, architect, musician and painter, with a solar color scale and spatial equilibrium, magically interpreted Alda Merini's verses:

 

"Amo i colori, tempi di un anelito

Inquieto, irrisolvibile, vitale, 
Spiegazione umilissima e sovrana

Dei cosmici "perché" del mio respiro".

 

(I love the colors, times of a yearning/ Restless, unresolvable, vital, / Most humble and sovereign explanation/ Of the cosmic 'whys' of my breath.)

 

 

Anna Ceppi opened her eyes and saw art; she poetically transfigures reality; she exalts the value of light and harmonious geometry.


Dottoressa Alessandra Galbusera

Art critic, aesthete and philosophy professor

 

The absolute protagonist of the work in the painting PRIMAVERA SPEZZATA is the chromatic tonality that recalls the sphere of the feminine and places at its center a line that becomes a gash. A gash that symbolizes a wound that divides, a scar that reunites, a thread that weaves new chromatics.