Art Gallery Studio Iguarnieri Florence Contemporary Fresco Paintings

Roberto Guarnieri, Rodolfo Guarnieri

OUR MISSION

In Art Gallery Iguarnieri Contemporary Fresco Paintings we want to create and share original works of art and unforgettable experiences by local artist in Florence, keeping alive the tradition of the Renaissance Bottega but in a contemporary style.

With our team we work to bring the finest selection of contemporary fresco paintings of our Master’s art, to public and private walls in an international level.

In our private ART GALLERY IGUARNIERI you find original CONTEMPORARY ARTWORKS featuring a multitude of genres with a focus on Florentine’s way of appreciative value.

Whether you are interested in purchasing a single painting or implementing and expanding a comprehensive art program, our private art gallery studio iguarnieri, is able to assist you on a multitude of levels.

Front Image

Ten minutes walk from Ponte Vecchio, just outside San Niccolò doors, by the “bottega del Buon Caffè”, you find THE ART GALLERY STUDIO IGUARNIERI. In a townhouse with terrace by the Arno River, the florentine Masters Roberto and Rodolfo paint in fresco technique Florence, the Tuscany Landscape, tributes to Michelangelo, Botticelli, Da Vinci, Ghirlandaio, Brunelleschi, Masaccio, from the Spring till Picasso and Modigliani nudes, also by commission, you may satisfy every single wish for your home. The world wide shipping is guarantee. Under the Michelangelo’s Piazzale, in front of the River, by the Poggi’s square ramp.

Artist’s Studio Gallery Firenze, 39 Lungarno Benvenuto Cellini

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EXHIBITION
Louvre. Iguarnieri fresco painting in the Louvre museum.

 Art Gallery Studio Iguarnieri do art for the Art Lovers from all around the world.

In a national and international role by preserving, collecting, exhibiting, and understanding the contemporaneity of nowdays at the highest possible standards.

Iguarnieri Magazine
ART AND BEAUTY IN FLORENCE

“Hands, in the magma of the visible”

The “manual” imprint which characterizes the fresco paintings of Iguarnieri apparently seems to distinguish itself through the various distances between figurations of reality and their representations.

The given natural forms (landscape, human and vegetable forms) seem metamorphosed and exaggerated, in different ways, from the application of a very original technique of preparation and execution of the work: a type of fresco in progress applied to many different surfaces and capable of a myriad of following interventions until the final version is fixed. Within the skill of the manual gesture the great tradition of the florentine manual and artistic workshops where the highly imaginative concreteness of the craft is united with the capability of freely modulating the material by projecting one’s own inner perceptions onto it has accumulated. The gradual, clever manipulation the substance has to undergo (whitewash, pigments and then varnish) at times turns the initial given natural forms into a sort of “sinopia”: the initial mimesis is still visible in the background but has taken on the plastic nearly sculptural vitality of the bas-relief and communicates an expressiveness that is “magma-like” wind, current, furrowed: the dissolving element of the form that tends to disintegrate into cracks and incisions and is at the same time the unifying element of the work. It therefore occurs that the delicacy of colours and the sharp contours of the genuine form are “hardened” by the work completed by the artists on the surface; however, the modified material acquires an equally natural beauty by exuding a very strong “tactile” appeal that induces one to touch the relief of the finished works.In the Gallery Studio Iguarnieri the stratified modulation which is necessary for the realization lends the work a vitality that leaves the banal evidence of the initial visual stimulus behind and the same effect that sometimes nearly is hyperrealistic exudes a material vigour nearer to a hand-made object than to the painted work. In fact it is possible to define this bizarre creative process as an innovative blending of the painted signs in their colourful elaboration with their supporting surface. This process isn’t far from the technique used for the realization the bas-relief and the incisions where a greater “immersion” into the substance is necessary. The preciousness and uniqueness of the paintings show how the profound knowledge of the craft transfers itself spontaneously into the material that is being dealt with in that it returns an initial energy to the given genuine object. In the contemporary paintings of the Iguarnieri brothers therefore the process that joins the manual and physical gesture with the power of the inner forces that nourish the artistic action seems to condense itself with surprising clearness. Through the filter of personal sensitivity these forces come to influence the work by having an effect, smoothing and drawing together the forms of the visible. In some cases it is possible to describe this process as a sort of intense “regression” in which the figurative fact is reduced to a minimum, sometimes made unclear in its fundamental lines. The “physical quality” necessary in order to bring the work to life tends to re-absorb the contours of forms, the objectivity of the given visual facts in the magma-like vagueness from which, however, it should emerge, nearly realizing a sort of inversion of the creative process. In these works the representations appear suspended at the point of clear distinction between the given visual facts and their diminution held in a synthesis in which the sedimentation of the material tends to disguise, hide, re-immerse the form into the primordial core from which it emerged. The gesture of the hands completely recovers the legacy of a tradition based on a solid and irreplaceable experience of live contact with the material which is deeply known and discerningly elaborated in its innumerable expressive differences. However, the sensitivity of the Art Gallery Studio Iguarnieri -craftsmen, creating from their inner experimental restlessness, men that are bound to their own generation renew the experience of the past and restore it with the vigour of a technique that has become genuine device by means of which a different and more fruitful confrontation with reality occurs. 
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Prof. Leonello Rabatti

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