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| 1965-1980: searching for spirituality |
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The Medlar branch from G.’s garden, 1968 |
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The Olive Branch, 1968 |
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Tango, 1970 |
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The Clementines,
1971 |
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This period saw the development of a
strong need to understand, and subsequently express through painting,
the ideas suggested by spiritual, poetic and sentimental experience.
Painting then as a tool to express a human content with great sincerity
and a deep sense of reality.
Ernani confirmed his status as a free
and authentic painter, typically Venetian in his colour preferences,
and in the simple joy in expressing himself through colour, which
added momentum to his innovation … |
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Lina, 1972 |
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The underlying theme which from this point
onwards would become peculiar to Ernani was essentially one: the rediscovery
of spirituality in each everyday object. |
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Portrait of Grazia, 1973 |
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At first, it was almost a reduction
in the boundaries of the image. The painter preferred small,
humble subjects: intimist moments of geniality. Then as
the years went by, backgrounds become more definitive, the objects
more defined, almost embroidered.
There is in reality, an element
of Zen in the paintings of the seventies: a floating of memory
in spaces which are no longer physical. Clear
cut, absolute layers dominate: on their inside the object (including
figures) is interweaved with precise patterns which emphasise its
immanent quality, with a presence above and beyond time and space.
The female figure is also seen in this way; even in portraits.
Everything is done to ‘communicate', not to ‘represent'; and everything
leads to the sign of a Divine Love which transcends the same terrestrial
contingent.
[1980-2007…] |
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The red chair, 1972 |
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The persimmon basket, 1971 |
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Ballerina posing, 1975 |
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Girl, 1975 |
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The cousins, 1975 |
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