English
Deutsch 
Italiano 
““Urban inconceivable” means recognizing the good, the fascinating, the aesthetically pleasing. It is made of combinations of urban, daring and improbable things, yet real. There are tabernacles and gas stations, old buildings and contemporary chaotic construcions, porn cinemas and old time haberdasheries, road signs, billboards and commercial advertisings, graffitis. And the combinations are not only based on composition and color, but also on grammar and semantics. Surprising results are born, now trivially conflicting, now simply complementary, now unintentionally comic, admirably wonderful, and spectacularly paradoxical.
“Urban inconceivable” makes much more sense than the opposite “urban conceivable”, meaning that the visual surprises we encounter every day in our cities are beyond our imagination. “ Andrea Spinelli
Artist: Andrea Spinelli
Title: Propietà privata
Year: 2005
Size: 50 x 60 cm
Medium: Acrylic on stretched canvas
Price: EUR 2500
For further information, please contact Audrey Liechti: liechti@artlaw-calco.com
Please notice that the works of art are sold directly by the artist.
Copyright: ART & LAW by CALCÒ
In “E’ Vietato L’Accesso – Proprieta’ Privata” we see a scene of almost
Brechtian dimensions. Set upon a background of clean, sterile apartment
buildings immersed in the hazy atmosphere of a typical Florentine
smog-laden day, we witness as if superimposed, an absurd yet humanly
scaled collection of little sheds and constructions topped with
miscellaneous, random patchworks of corrugated tin. Nearby in the fields,
as if anonymous serfs, people are bent over, toiling. Shockingly large in
the foreground is a manufactured “No Trespassing” sign upon which “Private
Property”is hand-scribbled. Rust-worn and creepy, it appears a bit like a
modern version of Dante’s warning: “All hope abandon, ye who enter
here…” Yet the artist observes this scene not with cynical superiority,
but rather with melancholic empathy for these people who inhabit it, for
they are the salt of the earth. Who knows what stories they would tell if
they could… one imagines old traditional tales: of the ancestors, of the
war, of other times… the last vestiges of a sapient agrarian culture set
within an urban sea…
Mi colpisce, in quest’opera il fatto che nonostante i contrasti architettonici, la delicatezza dei colori amalgama e offusca le grandi diversità rendendole quasi compementari. Il cartello vuole avvisare che il mondo al di là di esso confonda le due realtà.
As a Whole of the painting. To me and me only, I would buy the painting and I it would be a good one in my collection. I like this one and I give 2 thumbs up.
Hi!!! my dear friend I very interesting in to know all avobe the arts/craft,I hope to every body visit to me,God bless you!!!
I love the way that this artist finds beauty and pathos in common scenes that most people overlook. This painting draws our attention to the contrast between the world’s natural beauty (grass, trees and sky) and human toil. It brings to mind the famous painting by Jean-François Millet, “L’homme à la houe” (The Man With a Hoe), and expands that theme into a modern context, as if to help us ask ourselves what our toil is gaining us. Well done!
Andrea asks you to focus on what humans are doing to nature and to their own habitat. The farmers are almost ghosts, the trees faded out, the sky bleached. The more “inconceivable” the landscape the more detailed it becomes. The background box-building, the rusty shacks, the “no trespassing” sign.
The sign actually points out the absurdity of the urban-scape we built for ourselves and begs you to stay away.
Despite the power of the message, Andrea doesn’t seem to complain. He does it for the record, he is almost a journalist reporting a daily true story (he also quoted a misspell the owner left on the sign, “propietà”). And maybe doing so he manages to send an even stronger message.
“Access forbidden…private property” with a mispelled “propieta’” could be a motto for humanity in this widely complex, often inconceivable 20th century. How often do we allow access into our private souls? The pathway in the foreground of the painting seems to beckon the viewer, yet there stands the sign halting further access. Isn’t our private world also full of dichotomies?
Has the inconceivable man-made impositions (think technology) become a barricade or conglomerate not unlike the makeshift haphazard mass of disheveled sheds in the painting, begging the question “why?” from the onlooker. “Why” do we erect a pile of unsightly material and non/material things that ultimately get in the way of connecting to our essence and breaking through to our inner core? These are my thoughts in viewing this remarkable work which by the way encompasses even the outer frame with the script reproduced from the sign in the painting. True art is always compelling, and I feel Andrea has masterfully and skillfully challenged us to see beyond, just as true art should.
I like the concept of finding improbable beauty (and peace) midst old, forgotten places. Places that are timeless and draw me into a sense of inner self. How satisfying to discover inspiring patterns (such as old rippled wood), unique textures (peeling paint), or unexpected vistas in abandoned places. They catch one’s eye and draw attention away from the flurry of the everyday world. In this painting I see a lot of contrasts, too, including the light- softening from clarity to haze. Modern buildings, old buildings, leafy trees, bare trees. An age-old task in a modern world. Spring planting? Yet the workers are in heavy clothes. Hard to know what season this is. But it doesn’t matter, and the sign doesn’t matter, because obviously, the workers have ignored it and the gardening has been going on quite awhile. They’ve slipped into that timeless space.
These are profound comments. On a lighter note, this work shows Andrea’s talent with a wide range of genres. As the 2011 Invited International Artist for the Great Gulfcoast Arts Festival in Pensacola, Florida, Andrea’s work highlighted the beauty of Tuscany. Andrea is an extremely talented artist and a wonderful person.
To borrow an old art school phrase, this painting can be viewed as a subject- matter ‘juxtaposition’ of urban comfort, co-existing uncomfortably with urban poverty. The human figures toiling in the foreground could almost be ignored, but their quiet dignity makes an easy mental dismissal impossible. The painting makes a gently confrontational statement by way of the artist’s use of a solid, classical, representational style. Further to this, a disturbing feeling is experienced when viewing the combined softness of a pastel color palette with the diffused sense of light typical of the Tuscan sky in late winter…. a harsh reality as seen through the lens of a poet/philosopher.
To me, an inspired painting is like a fine wine. It is about the moment, the feeling you experience while enjoying it and the emotion it evokes in those you choose to share it with. Andrea has an uncanny knack of truly capturing a moment and preserving the emotion in such a way that your immediate feeling, while first witnessing it, can be revisited time and time again. I own two landscapes by Andrea and no matter where I find myself living, I am only steps away from Tuscany. Every time I view his paintings, I briefly find myself back in Italy. I cherish his paintings and greatly admire both his talent and his character.
It’s a good post.