Reviews
Professor Paola Lusso, Art Master:
“Bruna Rapetti is a true artist! Her works express what she has in her heart: emotions, her feelings and her joy. Perseverance, constancy, creativity and determination have supported and guided her in her artistic journey. Energy, colour, vitality and sincerity shine through her works. Every fragment, every coloured space is a powerful magnet that attracts the observer to itself, involving them in a harmonious play of colours and matter. Paintings that pulsate and quiver just like the life and joy enclosed within them”.
“Bruna Rapetti is a true artist! Her works express what she has in her heart: emotions, her feelings and her joy. Perseverance, constancy, creativity and determination have supported and guided her in her artistic journey. Energy, colour, vitality and sincerity shine through her works. Every fragment, every coloured space is a powerful magnet that attracts the observer to itself, involving them in a harmonious play of colours and matter. Paintings that pulsate and quiver just like the life and joy enclosed within them”.
Prof. Paola Lusso
Guido Carlucci, founder of the artistic movement “Sensorialismo Materico“
creator of the MACS museum (Greccio – Rieti) in 2012, writes about her:
Bruna Rapetti, with a multifaceted journey from landscape to portrait and an excellent copyist, has felt an inner need for change and her creations have begun to vibrate, matter and meaning have taken possession of the canvas. She perfected the use of the palette knife and her hands through continuous research alongside Master Guido Carlucci. Today Bruna Rapetti fully embraces Sensorialismo Materico, marking both an instant and an eternity. Projected into art history, Bruna Rapetti is a pure Sensorialist.
Bruna Rapetti, with a multifaceted journey from landscape to portrait and an excellent copyist, has felt an inner need for change and her creations have begun to vibrate, matter and meaning have taken possession of the canvas. She perfected the use of the palette knife and her hands through continuous research alongside Master Guido Carlucci. Today Bruna Rapetti fully embraces Sensorialismo Materico, marking both an instant and an eternity. Projected into art history, Bruna Rapetti is a pure Sensorialist.
Guido Carlucci
Dr. Domenico Taricco, art critic and historian, writes in Corriere dell'Arte about the work L'Origine:
L'Origine 2011 is an acrylic mixed technique on board in which Bruna Rapetti represents a solar disk at the center of an expanding universe. The evocative force of the subject is emphasized by the chromatic power that symbolically expresses the origin of cosmic life through the centrifugal force of a star caught in its spatial becoming. Colours and matter condense into formal agglomerations that take shape and substance as the gaze moves through the defined space. The circular element, placed right at the center of the work, conceptually refers to a hypothetical center in which man is allusively excluded to reappear in potency elsewhere: a sort of 'here and now' in which the initial intellectual realism is rationally faced, referring to structural and educational schemes that constitute the unconscious aspect of the artist herself....
“.... Bruna Rapetti extrapolates the hues, consolidates the forms, chains her powerful gravity to the colours, the reflections and the shadows. The result of such an organic palette is the mirror of light from which the soul elevates”.
L'Origine 2011 is an acrylic mixed technique on board in which Bruna Rapetti represents a solar disk at the center of an expanding universe. The evocative force of the subject is emphasized by the chromatic power that symbolically expresses the origin of cosmic life through the centrifugal force of a star caught in its spatial becoming. Colours and matter condense into formal agglomerations that take shape and substance as the gaze moves through the defined space. The circular element, placed right at the center of the work, conceptually refers to a hypothetical center in which man is allusively excluded to reappear in potency elsewhere: a sort of 'here and now' in which the initial intellectual realism is rationally faced, referring to structural and educational schemes that constitute the unconscious aspect of the artist herself....
“.... Bruna Rapetti extrapolates the hues, consolidates the forms, chains her powerful gravity to the colours, the reflections and the shadows. The result of such an organic palette is the mirror of light from which the soul elevates”.
Dr. Domenico Taricco
Corriere dell'Arte
Fabrizio Legger writes in the weekly magazine Il Monviso:
“The works of Bruna Rapetti are interesting, full of imagination and creative vivacity ranging from the historical imaginary (such as the work Khafre) to the dreamlike (such as the work “Meteorite”). They are works of great charm that reveal a singular talent of a true artist”.
“The works of Bruna Rapetti are interesting, full of imagination and creative vivacity ranging from the historical imaginary (such as the work Khafre) to the dreamlike (such as the work “Meteorite”). They are works of great charm that reveal a singular talent of a true artist”.
Fabrizio Legger
Weekly magazine Il Monviso
Dr. Mattea Micello, art critic and historian, writes the following in the book “I am like you“:
With the artist Bruna Rapetti, through her inner gaze, we face a very painful theme, namely, the loss of a dear friend, of a person we love. The work, 'Ad Anna, il vento dell'impermanenza' is a work of strong sensitivity, both artistic and human, since the artist remembers her lost friend. To the physical disappearance is channeled a strong devotion, nourished by hope and trust in life in the act of dying, understood as a moment of passage to other dimensions. Among the colours, we grasp a sort of mourning process. Such a process is commonly found in the lives of some artists in art history. A 1934 book describes it extensively: “The Legend of the Artist“ written by psychoanalyst ERNST KRIS and Art Historian OTTO Kurz. In the text we find many stories about painters who portrayed their dear deceased, among them, the sixteenth-century Artist Luca Signorelli who painted his lost son. Artistic reparative actions, also examined previously by the philosopher, neurologist and founder of psychoanalysis, SIGMUND FREUD, in the essay written in 1917, Mourning and Melancholia. To the portrait of the deceased, the esteemed psychoanalyst attaches the need for a reparative function and therefore, notable for psychologically elaborating and overcoming the pain connected with the loss of the subject. This concept, part of the psychology of art, today with BRUNA RAPETTI, takes on new forms. The need to honor the loved one remains immutable, nevertheless, the style of representation changes, assuming unprecedented structural features. The figurative portrait, faithful to the physiognomy of the depicted subject, gives way to splendid and vital chromatic fields, divided by a free informal painting. In this condition of absolute pictorial freedom, the journey of man is engraved, between immanent and transcendent. The mystical search finds its ritual in the form of colour, with the aim of depicting the energy of the lost loved one. The elaboration of mourning is linked to the forces of the universe. What is represented is Anna's energy that connects with all things. In the work, the elaboration of mourning, in an artistic sense, takes on new representational values. Bruna faces the theme of death, but her emotions, though painful, find peace in Buddhist philosophy. In the awareness of the impermanence of things where everything is composed of elements subject to birth and therefore to decay, the artist glimpses the joy of the absence of an eternal and immutable self. The acrylics, distributed with the palette knife, are creators of subtle veins, brilliantly functioning as a musical staff, for a positive and hope-filled chromatic song. The expressed tonal values are energetically accentuated by the choice of the colour gold as the primary field. Multiple golden reflections become a “commemorative sign“ full of spiritual considerations. The solemn equipped tonality is Anna, her direction which, free from matter, marries the energies of the cosmos. White, red, black, turquoise are speckled and slightly shaded. There are no particular shadow zones; the artist aims to exalt all colours with maximum density. It is the shining triumph of tonalities, interpreted as vitalizing. The melancholy of loss is replaced by the infinite joy of life that changes and transforms. All the works of BRUNA RAPETTI, whatever technique she embraces for the resolution of the image, preserve this “sparkling and optimistic atmospheric“ charge. This radiance also shines through the poetry dedicated to her friend Anna. The tones become melancholic, but from those same tones, emotions of joy and hope evolve more and more, to support this thought and of how the artist has made the pain of loss the joy of a new encounter, also giving us a Buddhist quote. They are words that reflect the most secret core of her heart, which drives away every mood, every doubt and every anguish, in the realization that in her real being lives her transcendental being, capable of revealing the enigmas of our existence of which the work “Ad Anna, il vento dell'impermanenza“ becomes the truest story: “ ……how quickly days pass. The friends with whom we admire the blooming of cherry trees, one spring morning are swept away together with the flowers, by the wind of impermanence, leaving of themselves nothing but their names ……..”
(quote by Nichiren Daishonin, Buddhist Monk - From the Letter to Nike, 1280 )
With the artist Bruna Rapetti, through her inner gaze, we face a very painful theme, namely, the loss of a dear friend, of a person we love. The work, 'Ad Anna, il vento dell'impermanenza' is a work of strong sensitivity, both artistic and human, since the artist remembers her lost friend. To the physical disappearance is channeled a strong devotion, nourished by hope and trust in life in the act of dying, understood as a moment of passage to other dimensions. Among the colours, we grasp a sort of mourning process. Such a process is commonly found in the lives of some artists in art history. A 1934 book describes it extensively: “The Legend of the Artist“ written by psychoanalyst ERNST KRIS and Art Historian OTTO Kurz. In the text we find many stories about painters who portrayed their dear deceased, among them, the sixteenth-century Artist Luca Signorelli who painted his lost son. Artistic reparative actions, also examined previously by the philosopher, neurologist and founder of psychoanalysis, SIGMUND FREUD, in the essay written in 1917, Mourning and Melancholia. To the portrait of the deceased, the esteemed psychoanalyst attaches the need for a reparative function and therefore, notable for psychologically elaborating and overcoming the pain connected with the loss of the subject. This concept, part of the psychology of art, today with BRUNA RAPETTI, takes on new forms. The need to honor the loved one remains immutable, nevertheless, the style of representation changes, assuming unprecedented structural features. The figurative portrait, faithful to the physiognomy of the depicted subject, gives way to splendid and vital chromatic fields, divided by a free informal painting. In this condition of absolute pictorial freedom, the journey of man is engraved, between immanent and transcendent. The mystical search finds its ritual in the form of colour, with the aim of depicting the energy of the lost loved one. The elaboration of mourning is linked to the forces of the universe. What is represented is Anna's energy that connects with all things. In the work, the elaboration of mourning, in an artistic sense, takes on new representational values. Bruna faces the theme of death, but her emotions, though painful, find peace in Buddhist philosophy. In the awareness of the impermanence of things where everything is composed of elements subject to birth and therefore to decay, the artist glimpses the joy of the absence of an eternal and immutable self. The acrylics, distributed with the palette knife, are creators of subtle veins, brilliantly functioning as a musical staff, for a positive and hope-filled chromatic song. The expressed tonal values are energetically accentuated by the choice of the colour gold as the primary field. Multiple golden reflections become a “commemorative sign“ full of spiritual considerations. The solemn equipped tonality is Anna, her direction which, free from matter, marries the energies of the cosmos. White, red, black, turquoise are speckled and slightly shaded. There are no particular shadow zones; the artist aims to exalt all colours with maximum density. It is the shining triumph of tonalities, interpreted as vitalizing. The melancholy of loss is replaced by the infinite joy of life that changes and transforms. All the works of BRUNA RAPETTI, whatever technique she embraces for the resolution of the image, preserve this “sparkling and optimistic atmospheric“ charge. This radiance also shines through the poetry dedicated to her friend Anna. The tones become melancholic, but from those same tones, emotions of joy and hope evolve more and more, to support this thought and of how the artist has made the pain of loss the joy of a new encounter, also giving us a Buddhist quote. They are words that reflect the most secret core of her heart, which drives away every mood, every doubt and every anguish, in the realization that in her real being lives her transcendental being, capable of revealing the enigmas of our existence of which the work “Ad Anna, il vento dell'impermanenza“ becomes the truest story: “ ……how quickly days pass. The friends with whom we admire the blooming of cherry trees, one spring morning are swept away together with the flowers, by the wind of impermanence, leaving of themselves nothing but their names ……..”
(quote by Nichiren Daishonin, Buddhist Monk - From the Letter to Nike, 1280 )
Dr. Mattea Micello
Book "I am like you"