romantic painter

contemporary romantic painter. Why?

Often I have been considered as a "contemporary romantic painter". Here you can find two articles that explain why. Both have been published in the New York art magazine ARTisSpectrum.

Volume 20, November 2008

Aurora Mazzoldi’s beautiful acrylic paintings, dubbed “Contemporary Romanticism”, are an epic journey into distant realms of the consciousness: She possesses a tactile and forthright approach to painting that features skilful modeling of light and shadow that often appears to virtually lift the subjects from off the canvas. Feminine beauty, coming of age, and life simple pleasures and subtle mysteries are fertile subject matter for Mazzoldi. Her oeuvre includes sensitively crafted still-lifes and figural studies, which are contrasted by other works that present cryptic allegories near approaching the ploys of Surrealism. These latter works show Mazzoldi at the height of her creativity, employing fascinating ciphers and soulful posturing to explore a concept without overt storytelling. This slight premeditated disconnect allows room for interpretation by the viewer, while allowing the works to remain deeply captivating and unforgettable. “I can transmit through my paintings the images, emerging from my subconscious mind as an inexhaustible source of experiences, stories and paths,” Mazzoldi explains. Stylistically her work has been influenced greatly by the Old Masters; while in content her own internal reflections and extensive travels throughout such far-flung locales as Germany, India and Cyprus have been inspirational. Aurora Mazzoldi has exhibited in her native Italy and also on an international level in Hungary, Germany, Austria, Spain, Argentina and the United States. Mazzoldi lives and works in Arco di Trento, Italy.

Volume 18, November 2007

"The elegiac works of Aurora Mazzoldi address the balance between memory and loss, longing and absence, and the knowledge that the grace of being human lies in the ability to both mourn and commemorate our experiences. She is an artist bravely addressing the human condition without despair or criticism; acceptance accompanies the mood of sadness in these works.

Her subjects present themselves to us unadorned by defenses; they stare back at us, inhabiting a space in which the background seems to spread forward in deep, earthly colors, and where the sense of melancholy fuelled by desire is strong. When there are no people present in her works, this sense of melancholy is even greater, for Mazzoldi has brilliantly chosen two iconic objects which strike chords of absence for us—flowers and an unworn hat. Throughout her works, Mazzoldi reiterates the importance of these two objects as living symbols. The absence of people, replaced by hats, and remembered by flowers—this is where Mazzoldi’s paintings convey her theme: the pain of loss alleviated by the palliative of love: The impermanence, yet importance, of human connection pervades these striking works.

A second motif in Mazzoldi’s painting is the intently staring eyes of her subjects. Whether in melancholy or innocent joy, or even closed in sleep, Mazzoldi exuberantly announces her faith in the eyes as windows to the soul. In canvases dominated by dark browns with slight touches of gold, eyes are often the only source of life to be found. Mazzoldi is asking that we acknowledge both the pain and joy of being human, and yet for all the unavoidable burdens of memory which these paintings suggest, there is no despair in these works. Even in melancholy, hope burns brightly here, quite literally emanating from the eyes. If the talismans of hat or flowers are the theme, then eyes tell the stories in Mazzoldi’s dreamlike paintings: it’s there that we take in the world: We grow, Aurora Mazzoldi is telling us in her paintings, from innocence to experience, and from experience to knowledge.

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