Profil
Giorgio Cagliari was born in 1965 and lives in Valpolicella.
He has always been fascinated by the art, especially in its pictorial expressions, he began his journey as a self-taught artist, then attending various painting courses, he met the Maestro Amalio Accordini who taught him to see the art by different eyes, to paint with the heart, with the feelings.
Giorgio Cagliari was born in 1965 and lives in Valpolicella.
He has always been fascinated by the art, especially in its pictorial expressions, he began his journey as a self-taught artist, then attending various painting courses, he met the Maestro Amalio Accordini who taught him to see the art by different eyes, to paint with the heart, with the feelings.
He attended painting courses at the P.Brenzoni Art School in Sant’Ambrogio di Valpolicella and free courses at the Cignaroli Academy of Verona.
He attended painting courses at the P.Brenzoni Art School in Sant’Ambrogio di Valpolicella and free courses at the Cignaroli Academy of Verona.
The subjects of his paintings are very varied, from the whole human figure or faces, life or work scenes and glimpses of landscapes, musical images.
The subjects of his paintings are very varied, from the whole human figure or faces, life or work scenes and glimpses of landscapes, musical images.
Often the subject is only a pretext to express his feelings.
Often the subject is only a pretext to express his feelings.
Instead of traditional canvas, it often uses natural wood, plywood, MFD or OSB panels or jute canvas or other materials which, due to their raw and natural characteristics, tickle its creativity. Even paper is a base often used.
Instead of traditional canvas, it often uses natural wood, plywood, MFD or OSB panels or jute canvas or other materials which, due to their raw and natural characteristics, tickle its creativity. Even paper is a base often used.
He often searches for the material effect left by the improvised sign, the random scarring, the obvious imperfection not-elaborate but spontaneous brushstrokes, made in one go, instinctive. The informal base becomes part of the work.
He often searches for the material effect left by the improvised sign, the random scarring, the obvious imperfection not-elaborate but spontaneous brushstrokes, made in one go, instinctive. The informal base becomes part of the work.
Even the colors used are different: oil, acrylics, pigments or other materials that allow him to maintain a direct relationship with the material structure.
Even the colors used are different: oil, acrylics, pigments or other materials that allow him to maintain a direct relationship with the material structure.
It also uses techniques that are not exactly formal, such as scratching the color off, engraving the bases or combustions.
It also uses techniques that are not exactly formal, such as scratching the color off, engraving the bases or combustions.
In recent years it has begun a journey with rust, transferring ferrous oxidation to the canvas. Metal, water and air work independently, they need a lot of time and a lot of work, but the result is always different and interesting. And from this support often starts the creation of the work, sometimes the work does not require any other important pictorial intervention, only canvas and rust.
In recent years it has begun a journey with rust, transferring ferrous oxidation to the canvas. Metal, water and air work independently, they need a lot of time and a lot of work, but the result is always different and interesting. And from this support often starts the creation of the work, sometimes the work does not require any other important pictorial intervention, only canvas and rust.
In the last period the abstract has taken shape in Giorgio’s paintings, often the forms of rust guide him in the pictorial intervention on these supports. In other cases, however, the pictorial intervention does not follow these forms but lies over these.
In the last period the abstract has taken shape in Giorgio’s paintings, often the forms of rust guide him in the pictorial intervention on these supports. In other cases, however, the pictorial intervention does not follow these forms but lies over these.
Giorgio loves the color of this element; with its multiple shades created by the infinite and mysterious figures he leaves on the supports.
Giorgio loves the color of this element; with its multiple shades created by the infinite and mysterious figures he leaves on the supports.
Personal exhibition
Garda May 1993 - Municipal hall
Garda June 2005 - Exhibition Palace
Garda July 2008 - Exhibition Palace
Verona May 2010 - Sala Birolli
Cavaion December 2013 - Polanschi Library
Garda September 2015 - Palazzo Pincini Carlotti
Garda May 2019 - Palazzo Pincini Carlotti
Garda September 2021 - Palazzo Pincini Carlotti
Garda May 2023 - Palazzo Pincini Carlotti
Personal exhibition
Garda May 1993 - Municipal hall
Garda June 2005 - Exhibition Palace
Garda July 2008 - Exhibition Palace
Verona May 2010 - Sala Birolli
Cavaion December 2013 - Polanschi Library
Garda September 2015 - Palazzo Pincini Carlotti
Garda May 2019 - Palazzo Pincini Carlotti
Garda September 2021 - Palazzo Pincini Carlotti
Garda May 2023 - Palazzo Pincini Carlotti