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Born in Castrovillari (CS) on 6 January 1958, he moved with his family to Bassano del Grappa at the age of eight. After about six months, he arrived in Bologna, second to his sister and son of a state employee at the Palace of Justice and a secretary at a private medical practice. He currently resides in P. za F. D. Roosevelt. Already at the age of nine, he began studying art, demonstrating an extraordinary aptitude. Self-taught, he painted until the age of seventeen, following different currents and using the most varied painting techniques, on different media and materials. After a short pause for reflection, he resumed his artistic activity full-time with his own personal and original painting process. At the age of 30, he moved to Loiano (where he lived for five years), a small, quiet village in the capital of Emilia, where he established his art. Each work he produced was a step forward in his inner quest, a desire to reach that still hidden spiritual goal.rnHis struggle, his relationship between man and divinity, led him to accept divine language, as this language knows no human limits. (mysticism)rnrn Angelo De Marco aka Anghel De MarcornWith the perennially fascinating language of symbolism, further enriched by the diuturnal research into his own experience and that of mankind, Anghel De Marco presents us with an atropo-philosophical and aesthetic message that is absolutely unprecedented in terms of both content and manner. It goes without saying that the captivating and stimulating suggestion of the atmospheres immediately restores the reader's awareness of the ancestral and life-giving heritage of the interaction between man and cosmos, freed from the illusory superfetations/integrations of a troubled and immemorial everyday life.rnThe artist himself implicitly clarifies the value that the direct relationship between man and the sign that represents him in a current (and historically cyclical) tension with society has in the image. It is a message that avails itself - with references to millenary and universal proposals of transcendence, of Persian and Babylonian roots - of a pregnant and essential phraseology, culturally mutated by remote Middle Eastern and Mediterranean mythologies, but even more so (and to a decisive extent) by the arcane implications of the biblical lexicon, particularly the Apocalypse. It seems to me that I can liken De Marco to the evangelist-prophet who speaks to the world of new and brighter frontiers from the industrious exile of Patmos: a solar island, workshop and refuge that is for the artist a metropolitan Patmos, threatened and attacked by existential pollutions, yet solid and incorrupt turris eburnea. From this Patmos of art and life pours forth a pictorial discourse of a remarkable order, unravelled in the sure sign of clean and polished images, apparently serene like the famous Planets by Donato Creti that can also recall, but vibrant with splendid anatomical powers that recall 12th century crucifixes and Marco d'Agrate, with pathos and realism of Mantegna, with clangours that echo, in a metaphysical key, asperous fights à la Paolo Uccello. They are, these of Anghel De Marco, images of real fights within today's alienating and disintegrating world. There is - I fully agree with the artist - a beauty, a physical perfection that represents excellent interiority. The colour, as well as having an alchemic meaning, has one related to the theme, so that red can express love and hatred, passion in any case; light blue internally tranquillity, peace. Man's combat is in essence a contestant-propositional dialogue with a single interlocutor, who is at the same time himself and the world; and the rarefied and astral atmospheres clearly express his solitude and open perspective, dissolving and composing antinomies and dichotomies. Surrealism Far from it: philosophical-aesthetic themes such as the harlot, ambiguity, the path, the curtain of life, selfishness, the island of love, the pact, the way of wisdom, the vice, prayer, contemplation, defeat, balance... manifesting in the round a love for man that is so intense and suffered as to exclude irony, sarcasm, superficiality and certain mannerist intellectualism as incongruent.rnThe technique De Marco uses is equally original (airbrush with paints, watercolours, pencils and powders, on elaborate and treated cardboard). The colours he makes himself from predominantly natural materials effectively support the specific and global discourse.rnDe Marco arrived at this through a coherent painting practice, which sprouted in his early adolescence and passed through different technical experiences and an independently and tenaciously pursued artistic maturation.rnWhen I started painting - he confesses - I wanted to find the inner stimulus to convey a message on the need for an eye-opening on the things that are wrong, to propose a tangible, concrete faith, expressed through symbolism on concreteness and spirituality, applicable to all expressions of life.rnThis fascinating and disturbing review shows that he has fully realised his vocation, already at the dawn of a day in art that promises to be a harbinger of many further gratifying achievements.rnrn Oriano Tassinari Clòrnrnrnrn
Born in Castrovillari (CS) on 6 January 1958, he moved with his family to Bassano del Grappa at the age of eight. After about six months, he arrived in Bologna, second to his sister and son of a state employee at the Palace of Justice and a secretary at a private medical practice. He currently resides in P. za F. D. Roosevelt. Already at the age of nine, he began studying art, demonstrating an extraordinary aptitude. Self-taught, he painted until the age of seventeen, following different currents and using the most varied painting techniques, on different media and materials. After a short pause for reflection, he resumed his artistic activity full-time with his own personal and original painting process. At the age of 30, he moved to Loiano (where he lived for five years), a small, quiet village in the capital of Emilia, where he established his art. Each work he produced was a step forward in his inner quest, a desire to reach that still hidden spiritual goal.rnHis struggle, his relationship between man and divinity, led him to accept divine language, as this language knows no human limits. (mysticism)rnrn Angelo De Marco aka Anghel De MarcornWith the perennially fascinating language of symbolism, further enriched by the diuturnal research into his own experience and that of mankind, Anghel De Marco presents us with an atropo-philosophical and aesthetic message that is absolutely unprecedented in terms of both content and manner. It goes without saying that the captivating and stimulating suggestion of the atmospheres immediately restores the reader's awareness of the ancestral and life-giving heritage of the interaction between man and cosmos, freed from the illusory superfetations/integrations of a troubled and immemorial everyday life.rnThe artist himself implicitly clarifies the value that the direct relationship between man and the sign that represents him in a current (and historically cyclical) tension with society has in the image. It is a message that avails itself - with references to millenary and universal proposals of transcendence, of Persian and Babylonian roots - of a pregnant and essential phraseology, culturally mutated by remote Middle Eastern and Mediterranean mythologies, but even more so (and to a decisive extent) by the arcane implications of the biblical lexicon, particularly the Apocalypse. It seems to me that I can liken De Marco to the evangelist-prophet who speaks to the world of new and brighter frontiers from the industrious exile of Patmos: a solar island, workshop and refuge that is for the artist a metropolitan Patmos, threatened and attacked by existential pollutions, yet solid and incorrupt turris eburnea. From this Patmos of art and life pours forth a pictorial discourse of a remarkable order, unravelled in the sure sign of clean and polished images, apparently serene like the famous Planets by Donato Creti that can also recall, but vibrant with splendid anatomical powers that recall 12th century crucifixes and Marco d'Agrate, with pathos and realism of Mantegna, with clangours that echo, in a metaphysical key, asperous fights à la Paolo Uccello. They are, these of Anghel De Marco, images of real fights within today's alienating and disintegrating world. There is - I fully agree with the artist - a beauty, a physical perfection that represents excellent interiority. The colour, as well as having an alchemic meaning, has one related to the theme, so that red can express love and hatred, passion in any case; light blue internally tranquillity, peace. Man's combat is in essence a contestant-propositional dialogue with a single interlocutor, who is at the same time himself and the world; and the rarefied and astral atmospheres clearly express his solitude and open perspective, dissolving and composing antinomies and dichotomies. Surrealism Far from it: philosophical-aesthetic themes such as the harlot, ambiguity, the path, the curtain of life, selfishness, the island of love, the pact, the way of wisdom, the vice, prayer, contemplation, defeat, balance... manifesting in the round a love for man that is so intense and suffered as to exclude irony, sarcasm, superficiality and certain mannerist intellectualism as incongruent.rnThe technique De Marco uses is equally original (airbrush with paints, watercolours, pencils and powders, on elaborate and treated cardboard). The colours he makes himself from predominantly natural materials effectively support the specific and global discourse.rnDe Marco arrived at this through a coherent painting practice, which sprouted in his early adolescence and passed through different technical experiences and an independently and tenaciously pursued artistic maturation.rnWhen I started painting - he confesses - I wanted to find the inner stimulus to convey a message on the need for an eye-opening on the things that are wrong, to propose a tangible, concrete faith, expressed through symbolism on concreteness and spirituality, applicable to all expressions of life.rnThis fascinating and disturbing review shows that he has fully realised his vocation, already at the dawn of a day in art that promises to be a harbinger of many further gratifying achievements.rnrn Oriano Tassinari Clòrnrnrnrn
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