Francesca Bruni, Received a Erba (CO) in 1970, lives and works in Milan. He received his artistic maturity and graduated in painting at the Academy of Fine Arts in Milan.
He subsequently attended the studio of Professor Luigi Lomanto devoted to the deepening of the techniques of drawing and oil painting.
In 1997 joined the group Artemisia. Its business of decorative painting for private, society and public.
In painting, the subject of Francesca Bruni preferential consists of the theme of the figure, developed in a manner of expression that represent a particular and updated version of a very old subject of our art.
The works that the author runs in the present are the latest products of a route path expression that has different stages, linked by a coherent research: His most recent works may in fact lie on a particular medium, consist of transparent plastic films and especially from plexiglass; on this unusual material, with interesting implications expressive, the artist works, creating his images, that are essentially pictures and portraits. The pictorial result is obtained with the color, that is spread with a stroke almost on the performance graph: images appear in fact evoked with sober and synthetic traits, delimiting pauses vacuum left to the transparency of the vitreous plexiglass.
It must also be remembered that these particular paintings to be observed hung on a wall, but from this detached intentionally prepared with thicknesses, so that the path traced by the color produces a shadow over the transparent support, creating a second visual result from the effects of evanescent and intangible assets.
This unique mode of expression, which provides a careful study of the pictorial work but also its consequences beyond the traditional compositional space, clearly leaves out the main interests of Bruni, that always care especially light output with its opposite and complementary backface formed from the shadows; the work of this artist is born then the original and modern reinterpretation of chiaroscuro, one of the key ingredients of our art, proposed in modern terms, and far from the historical practice.
The search for the painter is divided into subjects repeated, revisited, continuously deepened and derived from the subject of the figure, as the bare, and also the self-portrait, with some rare concession to the landscape; Bruni practice then, as her companions Group Artemisia, the "copy" of the living model, that in the work of a few years ago, was developed in monochrome or in works from the palette limited to a few colors, dominated by an elegant but at the same plastic, capable of determining a volume also in the works that were built on the diverse range of solid colors oil.
An important step in the path of the artist is then formed by a number of paintings characterized by blue or black or from media obtained from wood planks or even from particular papers; in essi, over the paint film, applied with sophisticated synthesis in a subtle and careful color glaze, emerge and become the protagonists of the dark backgrounds, track phytomorphic of organic structure and texture of the sheet material and craftsmanship, in the definition of intense chiaroscuro, compounds from engaging lights and darkness insistent.
Some works then accentuate this dialectic through the compositional pattern of the window, diaphragm that filters flares required for visual story, that is shed in the dark interior of the fantastic, in a pattern that belongs to the tradition of Western art history, by Piero della Francesca, the Flemish.
And 'This is the root of the current works, living on accurate and transparent shadows researched and soft; images come to identify with a light texture, in which color plays a sign minimized, becoming track on the performance graph that gives way to empty, traversed by the light in plexiglass.
The final effect then becomes that of a non-finished modern, in which the viewer's gaze is forward in search of images that show a strong transfiguration mental and emotional interpretation inner, in which the relationship with the model evolves in memory sedimented and removed the memory.
With this particular visual language, which emerge in the shadows and the lights of consciousness, Francesca Bruni tells the routes of its original creative thinking.
” Francesca Bruni focuses preferentially on the edges, i dossi, tensions and the lumps that the plastic body shape, relying primarily on the power of the synthetic line: a quick stretch, engraved and chiaroscuro that sometimes also waives the preciousness of color, but it satisfies the design, pastel monochrome, also of considerable size.
About his work Stephen has spoken Fugazza, very properly, Expressionism, understood not as a literal quote but rather reinterpretation of forms and ways not at all naturalistic, despite the extreme care taken in the selection of poses, of the subjects and their relation with the space.
Because the focus is here on the surface, intended primarily as a body surface, field of plastic expression. “