IDENTIKART

What is it?

Another prove of his extreme artistic personality are the dates: eg. 3000 or 3008. Maybe they are just a specific demonstration of an Art without time or a relief to the present ? Nobody can answer, but anyone can try to, finding out the many uncertainties still kept hidden into an admirable art of a genius.

~ Introduction ~

What is in common among Joyce, Strawinsky and Picasso? They had nothing to tell us or, at least, they didn’t want to speak about themselves and therefore about their behaviours, connected to the reality..., but they want to speak about art and the love for it. They don’t care about the world around, they don’t want to join it except through the art: they are artists with a brilliant mind and great techniques and as a sort of background they count on the soul of a creator, the eye of a commentator, the skill of an imitator. They were three geniuses who after an artistic period set on reproduction of reality they’ve chosen to cross over that limit by switching their mind from life to culture. In order to do that they had to be brave, try to fight an iron system, denying the importance of the ispiration connected with past experiences and finding out a way to attrib it to already spoken art-words. This is what Joyce, Strawinsky and Picasso have done. They’ve done it to observe the neverending inventory of ideas and to sake and plunder it. Anyway it was worth and it isn’t too hard to understand for us. Since the 1st World War a crush of the ancient concept of previous art occurs and turns it into a sort of “museum”. It freezes: a still picture of what have been. Why do we must know that except to rebuild unlikely comparisons of the new and previous art? With the “museum” the idea of styles relativity and objectivity is born and then grows up in many ways and forms through vanity expressions: on the other hand a most improved concept of art appears, agreed upon the creation of a salable product. But Joyce, Strawinsky and Picasso, without true intent, are three genial artists who gave the use, understood as a mercenary till this time, noble aspects, requested by cultural need and not by marketing influence. Treating art of the past as a manieristic and stylized world, they make possible export the product to a lot of people; they have been thieves and they have reduced that world into a stuck system. They have probably closed the artist/talker era and opened up that one in which artists have something to give. Troublewords apart, with those people the important alexandrin manierism starts, built on typical USA and Europe society. Also begins a graveyard-store-show-exhibition of the Art, forced to be ever contemporaneous and vanguard. This is what Moravia said in “Picasso blue and pink”, diagnostic centre of a desease curable with a cut or maybe incurable: hypothesis, in part, of an universal culture, used to a neverending run. A culture that eats myth and turns into myth the rite of a growing/destroying technology.

~ The art of F. Alquati ~

Polimorphic art that has as goal the coordination of the world around, rich of things, beings, facts, phenomenons in a rhythm of concrete essence and various existence. Without any fear of losing the right path, we could say F. Alquati represents clearly the deep humanity of his period, in part trying to control the universe and in part scared phisically and metaphisically by its frightening power. Alquati has chosen to be that kind of man to perform his art, a man with a great power (negatively understood) and possessive abilities (he’s able to catch but he can also be caught, can kill and be killed), which ones are exhibition of a life-care and they all are expression of his humanity as marvelous as true. Finally a painter who runs far away from a trichy and a dishonest art, unable to belong to the human sphere. He’s serious and honest, a great one in his humbleness, and he plots the world as an object of true art into its deep heart, fighting versus critic settings of who believes the art of Alquati is a composed addiction of empty aspects. We must observe otherwise that his art tries to build a sort of box with huge capacity where his explosive fantasy can be stored for a while. Ghilardi found in Alquati’s mind a research of an equilibrium between paints/art and painter: in short he’s a good painter and his artwork isn’t bad at all! In the art oriented on the contemporaneous period, there’s the practice to trash geometric elements supported by a stuck colours system, but Alquati tries to realize the connection between art and human being in a sort of deep analysis that brings up to a high level of drammatic expression. The world of Alquati, as true as fantastic, seems at the same time to run away from an hurrican and jump into the eye of the storm; his art grows up each day and along this way he’s able to create a strong feeling which everything is based on. The art makes Alquati sad and sensible to the problem man/art because a great sense of autocriticism turns into the true sorrow of a man who can’t feel himself fit in his own story and age, where reality cuddles the mind. Alquati has a brilliant mind and his work must be understood as a fantastic journey anytime in front of a cross-road between objective and subjective sens

~ Critic commentary ~

'The art of Alquati is double: abstraction and realism. Between those things we can find out the connections that represent all the way long the artistic growing of Alquati and they are definable as art-flavour. '

- Wassily Kandinsky

'In the art of Alquati, the man inside the artist is searching for a drammatic cross between physical and spiritual feeling to reach a concrete truth by following new cromatic ways. He avoids to lose himself into an open but empty field, and describes otherwise the reality with intuitions. Alquati leads the heart of the life-creation, that explodes in the colours, to get a graphic synthesis of psychologist motives ever aggressive and complex; he mixed the abstract with the instinct and the introspection with the study. His marvelous art, born sometimes from a tie of tricky emotions and sometimes after a deep digging into his mind and heart, is able to calm down the caos of most restless art-behaviours by turning the storm of feelings into a rational poetry. As Kandinsky said “The problem is to understand if the art grows up due to a personal need or not”. Alquati is a strong critic of himself, sometimes too much, and his destiny is already written: he will swim till the shore where great spirits, doom because of the holy or evil demon of art, find their own hell or heaven.'
- Jgor Fröen