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Claudio Ciardi

Joined Artfinder: Oct. 2020

Artworks for sale: 163

(2)

Italy

Updates from Claudio Ciardi's studio

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    04 March 2023
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    04 March 2023
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    04 March 2023
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    04 March 2023
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    This is the brochure I send with my paintings

    04 April 2021
    Matisse is an artist...

    Matisse is an artist...

    Exhibitions 1990 Galleria S. Giorgio – Portofino (GE) Galleria Arte Oggi – Settimo Torinese (TO) 1991 Galleria Arte Oggi – Settimo Torinese (TO) Galleria S. Giorgio – Portofino (GE) Galleria Branciforti – Bardolino (VR) 1992 Galleria Merighi- Varazze (SV) Galleria Arcobaleno - Torri del Benaco (VR) 1993 Galleria d’Arte’ Atelier – Torino Galleria S. Giorgio – Portofino (GE) Galleria Arte Oggi – Settimo Torinese (TO) 1994 Galleria S. Giorgio – Portofino (GE) Galleria Branciforti – Bardolino (VR) Miniaci Art Gallery – Positano (SA) 1995 Windsor Gallery Dania (Florida) Galery du Bresc Saint Paul deVence(Francia) Galleria Canci – Lerici (SP) 1996 Galleria S. Giorgio – Portofino (GE) Galleria Masini –Firenze Galleria Fornara – Arona (NO) Galleria Arte Oggi –Finale Ligure (SV) 1997 Fiera d’arte moderna e contemporanea Artissima – Torino Lingotto – stand “Arte 80” Galery du Bresc Saint Paul de Vence Galleria S. Giorgio – Portofino (GE) Saluzzo Arte 1997- 2° Mostra d’arte contemporanea 1998 Galleria Berman - Torino Galery du Bresc –Saint Paul de Vence 1999 Arte Expo New York (USA) Galleria S. Giorgio – Portofino (GE) Fornara Gallery- Marbella – Malaga 2000 Galleria Canci – Lerici (SP) Galleria S. Giorgio – Portofino (GE) 2001 Galerie BPS Biot (Francia) Galleria Canci – Lerici (SP) Galleria S. Giorgio – Portofino (GE) 2002 Galleria Berman – Torino Galleria S. Giorgio – Portofino (GE) 2003 Galerie BPS Biot (Francia) Galleria Canci – Lerici (SP) 2004 Galleria Canci – Lerici (SP) Galleria S. Giorgio – Portofino 2005 Galleria S. Giorgio – Portofino (GE) Calandra Arte- Manarola (SP) 2006 Valentinarte Bellagio (CO) Galleria S. Giorgio – Portofino (GE) Calandra Arte- Manarola (SP) 2007 Galleria S. Giorgio – Portofino (GE) Valentinarte -- Bellagio (CO) 2008 Valentinarte - Bellagio (CO) Galerie BPS Biot (Francia) 2009 Galleria Arte Oggi – Finale Ligure (SV) Valentinarte -Bellagio (CO) Calandra Arte - Manarola (SP) 2010 Portofinos Colour Art Gallery – Portofino Valentinarte -Bellagio (CO) Calandra Arte - Manarola (SP) 2011 Portofinos Colour Art Gallery – Portofino Calandra Arte - Manarola (SP) 2012 Portofinos Colour Art Gallery – Portofino Valentinarte -Bellagio (CO) Calandra Arte - Manarola (SP) 2013 Galleria Arte Oggi – Finale Ligure (SV) Portofinos Colour Art Gallery – Portofino 2014 Portofinos Colour Art Gallery – Portofino Calandra Arte - Manarola (SP) 2015 Portofinos Colour Art Gallery – Portofino Calandra Arte - Manarola (SP) 2016 Portofinos Colour Art Gallery – Portofino ) Galleria Arte Oggi – Finale Ligure (SV) 2017 Portofinos Colour Art Gallery – Portofino Calandra Arte - Manarola (SP) 2018 Portofinos Colour Art Gallery – Portofino

    26 March 2021
    Portofino's painting in a big size

    Portofino's painting in a big size

    If the last century was characterized by a beautiful painting, even if sometimes repetitive and taken for granted, the 20th century reacted with proposals for a break which, although reaching high suggestions and lyricism in some authors, showed bad results in the large mass of proselytes that emerged. Dirty painting, trash painting (elitistly trash), cumbersome and laughable installations, animals embalmed and insulted in their perfect body harmony, "art" photographs with disturbing and aberrant shots. So the artistic sense is dead? For those who want to amaze at all costs certainly, as well as for those who believe that a brush soaked in color and placed on a canvas is enough to call themselves “painters”. But luckily some stars always shine even in dark and oppressive skies. This is the case of the talented Claudio Ciardi: a true painter of this confused artistic climate at the end of the millennium who still manages to dedicate himself to nature communicating its beauty in an anti-romantic, objective and technically perfect way. His works are in fact characterized by a compositional language that, using visual signs, lines, colors, surfaces, brings the image to be universally usable and subjectively interpretable. The Portofino, the fields of poppies or lavender, the marine coves animated from time to time by decorative figures, turn out to be so pleasant, captivating, never painfully repetitive and always a stimulus for those who want to recover a personal sensation, It is the rebirth of PAINTING , the real one, the one that to be so must take place in ways of universal language always supported by the need to reveal itself, even in the classical style, pleasant in step with the most current international artistic expressions.

    26 October 2020
    Portofino's painting in a small size

    Portofino's painting in a small size

    Saying about an author of wich many have already said and written is not always easy, sometimes it becomes trivial or even repetitive. We cite "styles, inner evolutions, currents of probable belonging, artists from wich he descends tout-court ...". For those who had instead had the good fortune to read, among others, "The discovery of the alphabet" by L. Malerba (bible of literary clarity and simplicity) or for those who love even in art criticism the understandable and the easy, just say that Ciardi's paintings are beautiful, pleasant, cheerful and well painted. And that's it. In fact ,Ciardi communicates in an understandable way: he knows the pictorial language and the signs that compose it and thus allows everyone to participate in his way of seeing and feeling things. In his works, the visual signs, points, lines, colors, surfaces intertwine to form a whole with meaning and the image takes on a clear and usable but also interpretable meaning. The Portofino, the fields of poppies, the snowy huts, the lively squares do not need brain analysis or cumbersome critical research. They are there, pleasant, captivating, executed in a masterly way, never painfully repetitive and always a stimulus for those who want to recover a personal sensation. If they are to be traced back to a line, they can be linked to the tradition of the search for a beautiful landscape scenery that is accredited in the early seventeenth century and that, to say it with the critic Raffaello Causa, takes place in ways of language always supported by the need to be pleasantly in step with the most current expressions of European art.

    26 October 2020
    In my studio

    In my studio

    From the Neapolitan idyll to the Piedmontese landscapes of the nineteenth century, a thread can ideally be traced that translates into the interpretation of nature that is not intimately romantic and yet with a penetration that, without privileging the mood of the artist or the landscape reality, draws a balance between the two parts, between the practical expanse, the garden and the brush. It is a consideration that spontaneously arises in those who observe, not superficially, the works of Claudio Ciardi. It is not, of course, a static relationship: today the countryside, like the lights on the proscenium, presents a bright red thread of poppies, and announces itself with a festive greeting, tomorrow it is the joy that bursts from the painter's soul to invade the field and then it is a diffused luminosity that creeps between the grasses, the bushes, the thick bushes of the trees. These trees, either single or in groups, are frequently called upon to layout, and in this case the compositional element presents itself in its evidence, albeit with discretion, the grassy expanse or the overlapping, not impetuous, of the hills or even a aqueous surface in which the fronds are reflected as if are reflected as a source, of spontaneity and freshness. If it is true that Claudio Ciardi places, among the elements that characterize his painting, in the first place respect for form and natural colors above all mutually stimulates, it is also true that he does not shy away from highlighting an elementary geometric figure, the triangle or trapezoid, for example, as if to remind himself and us that the countryside, so ordered, so combed, leaves nothing to chaos and that harmony is achieved with pieces that, even if not visible in the first place, determine the mosaic set. This can be said of a meadow, a field, a glimpse of the valley, while as far as the urban landscape is concerned, the urban layout prevails and with it the architecture. And always a ray of sunshine, as for bushes, as for trees, bounces off the pavement: and this is the solar sensitivity that emerges from the artist's soul and is communicated to the squares, gardens, streets. To make them his own and to give them something of himself.

    26 October 2020