MASSIMO GUERRA - The anachronistic artist

Inspired by artists of the Classicism in particular Caravaggio, and other ancient masters of Romanticism, Academicism and Symbolism of such as Tiziano, David, Ingres, Bouguereau and others.
His works are already present in the world's most important public and private collections.


MASSIMO GUERRA - The anachronistic artist

Max Von Krieg - Classicism & Romanticism Revue

IT IS RARE TODAY TO SEE AN ARTIST WHO RELY ON YOUR OWN TALENT; AN ARTIST THAT, WHO BELIEVES IN ITS INSPIRATION, NATURALLY TEACHES ITS OWN ARTISTIC DESTINY. RARE BECAUSE THE TIREMY OF INFORMATION AND THE DIFFUSION OF MECHANICAL, PHOTOGRAPHIC AND PHOTOGRAPHIC TECHNIQUES AND SUPPORTS AND THE USE OF THE COMPUTER, HAVE FINISHED TO BUILD THE PERSONALITY OF MANY PAINTERS WHICH ARE APPEATTISC IN A STERILE PANTOMIMA RITUAL. REAL PAINTING IS ANOTHER THING. IT IS REASON FOR DEEP SATISFACTION TO RECOGNIZE IN THE WORK OF MAXIMUM WAR THE SIGN OF PASSION AND INDEPENDENCE, ANACRONISTIC, THAT FEELINGS FUNDAMENTAL AND UNUSUALABLE QUALITIES WHY A PAINTER CAN BE CONSIDERED A REAL ARTIST.

Max Von Krieg

Massimo Guerra - The anachronistic artist

Giusy Carrillo - Italian Art Digest

MASSIMO GUERRA IS EQUIPPED WITH A POLYPHERICAL ARTISTIC PERSONALITY, WITH ROUND FIGURATIVE SOLIDS, CULTIVATED SINCE THE FIRST YEARS OF HIS LIFE. HIS ART IS INCREASED ALWAYS, ON THE RE-CONFIGURATION OF THE HUMAN AND NUDE FIGURE, ESPECIALLY FEMININE. MASSIMO GUERRA, IN ITS ARTISTIC REPRESENTATION EXPRESSES ITSELF, ITS TASTE, FREE FROM SCHEMES AND PRE-SETTINGS IMPOSED BY THE MANNER, RELEASING ITS CREATIVE DEATH IN A DISINVOLTA AND SPONTANEOUS MANNER, WITH GREAT MASTERY, SPACING WITH EVERY TECHNIQUE, THE ASPECTS OF THE REAL . EQUIPPED WITH A GREAT SENSE OF AESTHETIC, PREDILIGE THE CHIAROSCURO AND THE CHROMATISM OF THE RED, BATTIZZATO FOR ITS STRENGTH, RED WAR, DRIVER THREAD OF THEIR WORKS THAT MAKE IT RECOGNIZABLE TO THE EYES OF WHO WATCHES. HIS ART EXPRESSES A ENERGY CHARGE THAT INVOLVES THE OBSERVER, INVITING IT TO IMMERSE INTO A REAL WORLD, ONCE SOMENTLY APPARENTLY AWAY. THE THRESHOLD BETWEEN REALITY AND FICTION IS VERY THIN. THE GREAT STRENGTH OF CHARACTER IS THE THRUST THAT MOVES HIS HAND ON THE CANVAS, WITH A SHINY AND CAREFULLY SEARCH OF COLORS AND MATERIALS, OFTEN ACCORDING TO TECHNICAL SEARCHES OF THE PAST. THEREFORE THE PITTORIAN MASTERY AND TECHNIQUE NEED TO DETECT THE SENSE OF HIS EXPRESSIVITY CHARACTERIZED BY ANACRONISM PROVOCATORY, WHICH IS LOCATED IN THE AREA OF A CONTINUITY MESSAGE WITH THE PAST, WITH THE GREAT TRADITION OF BAROCCA PAINTING, IN PARTICULAR CARAVAGGESCA. THE PAST IS OFTEN SUFFERED IN ITS VISUAL REPRESENTATIONS. ASTANT, REMAINS DEEPLY AFFECTED BY A REPRESENTATION THAT RIVALS IN A REFRESHED VEST, THAT THE TRENDS OF MODERN ART HAVE NOT BEEN SUCCESSFUL TO CANCEL ITS WORKS TAKE THEMSELF TO A SIZE ORMAI "TRANSCORSA" DEFINED CLASSIC, BUT ONLY A LITTLE OBSERVATOR IT CAN NOT BE UNDERSTANDING IN THE STRENGTH OF THE BRUSH AND THE CHROMATISM, THE VIGOR OF AN ART THAT WANTS TO REOPEN IN THE CONTEMPORARY WORLD, WITH ITS OWN UNIQUENESS, IN THIS KEY THE MODERNITY MUST BE SEARCHED. IN HIS PERSONAL ARTISTIC PATH, SACRED AND PROFOR, ARE NOT SEPARATE WORLDS, BUT FACES OF A SINGLE MEDAL, EXPRESSIONS OF HUMAN EXISTENCE, REPENTED WITHOUT MORALISTIC CONSTRAINTS. MASSIMO GUERRA IS A VIRTUOUS OF THE BRUSH, WHICH REPORTS ON HIS REPRESENTATION OF THE REAL, WITH A PROPERTY AND SPEED OF EXECUTION, THAT LEAVES EFFECTIVELY AMAZED FOR THE OWN INNATED SKILLS. THE DIVERSITY OF STYLES, ACQUIRED THROUGH ITS VISSUTO ARTISTICO CAN SOMETIMES, ONLY APPARENTLY TO CONFUSE, BUT THE ELEMENTS DOMINANT AS THE STRENGTH OF COLOR AND BRUSH ARE ALWAYS RECOGNIZABLE. THE ABILITY TO TRANSFORM WITH A FEW HANDS THE MATTER IN SOMETHING IMMEDIATELY RECOGNIZABLE, WITHOUT ACADEMIC BUILDINGS AND SPACING THROUGH DIFFERENT STYLES, HAS MADE THEM THANKS TO THE RULES OF THE MARKET, IMPOSED BY THE TRENDS OF THE AVANT-GARDE MODERN. HIS PICTORAL EXPRESSION IS THE LANGUAGE OF AN ARTIST WHO LOOKING FOR REPRESENTING THE FIGURATIVE AS AN EXPRESSION MORE THAN EVER BELONGING TO BECOME IN AN ARTISTIC INABILITY. HOW THE HUMAN EAR PERCEIVES A NOTE OUT OF TIME, SO THE HUMAN EYE CAN NOT BE AWAKENED BY STERILE AND EMPTY REPRESENTATIONS. MASSIMO GUERRA, INCARNS THE EXPRESSIVE STRENGTH TO THE PURE STATE, REALIZING WITH THE BRUSH, NUDES AND REAL FIGURES, WELL DEFINED WITH LIGHTS AND SHADOWS, THAT MAKE MOVEMENT TO THE ARTWORK. HIS PORTRAITS, FOR NO STATIC, APPEAR TO LIVE IN THE LOOK OF THE FACES THAT RETURNS AND IN THE PURPLE OF COLOR. THE SIZE OF THIS SUGGESTIVE REALISM, NEVER EVER LESS, BUT ITS INCREDIBLY, A GREATER EXALTATION IN GRAFFITI ON THE TABLE, WHERE THE ABSENCE OF CHROMATIC MATTER, CAN NOT DENIAL THE FORM. THE ARTIST, NOT A CASE, PREDILIGE FOR HIS WORKS THE GREAT DIMENSIONS, STRONGLY CELEBRATIVE ELEMENT IN THE EXHIBITION OF ITS FIGURATIVE PAINTING. THE EXPRESSIVE STRENGTH OF ITS COLORS AND RED PALPITANTS, AFFECT THE OBSERVER, SUCCE SURPRISING VISIONS, WHICH MAKE HIS PAINTING, MOMENTS OF INTENSE EMOTIONALITY. THE CREATIVE ACT ALLOWS IT TO TRANSFER ON CANVAS THE SECRETESSESSESS OF A NOBLE AND PRESTIGIOUS ART, FRUIT OF AN ARTISTICALLY RECENT VENT, BUT REMEMNLY RETURNINGLY. THE LONG EXPERIENCE ACQUIRED IN REPRESENTATION FROM THE TRUE E, THE STUDIES ON THE GREAT MASTERS OF THE PAST, THE FAVORITE "CARAVAGGIO" PAINTER, HAS FAVORITE IN HIM THE ACQUISITION OF A KNOWLEDGE OF KNOWLEDGE, ESSENTIAL TO MATERIALIZE HIS "PICTORIAL THOUGHT". AN ARTIST, IN CONNECTION WITH THE PAST, IN A STORY OF MAGICAL ALCHEMY, CONSTITUTES ITS REAL VALUE.

Giusy Carrillo