Reviews

Six questions to Michele Dolz

Davide Coltro
Saturday, 13 December, 2008
The title of the exhibition leaves no doubt, as if to suggest a conversation on the spirit because it is the land of silence that seems to lead directly to interiority. Your response is perhaps a painting close to the borders of interior silence, that transcends the senses themselves.

Beyond Nature

Maurizio Cecchetti, «Studi Cattolici»
Monday, 1 June, 1998
I remember a joke by Degas about Impressionism: C'est plein de courants d'air. He meant that, rather than painting en plein air, he preferred the closed room of his own studio, the dim light that filtered through the wide windows of the atelier, whose panes were almost never washed. That was a guarantee of truth, the truth of his own memory, that distillation which remains when you’ve forgotten all you know about reality. And to understand this 'seclusion' I refer again to Degas, when, while travelling through Burgundy along with his friend Bartholomé, he sketched those landscapes, ‘unique’ pieces in a career as wide and teeming with paintings, drawings and sculptures of various subjects, and afterwards he tod people he had had the window of the moving train as a ‘frame’.

Coloured shards burn the canvas

Francesca Bonazzoli in "Corriere della Sera"
Thursday, 21 May, 1998

Built in 1477 next to the Basilica of Sant'Ambrogio and then painted by Bernardino Luini, the ancient Oratory of the Passion, now an exhibition space, is like a trial by fire for those who exhibit in it. No manneristci art, no academic exercise can keep the mask on and hide from the eyes of the beholder. Knowing how to paint well does not count and can even be detrimental. The first requirement an artist needs here is the strength of his idea.

On place, form and impossible creation

Andrea Beolchi, catalogue
Tuesday, 5 May, 1998
Beyond the appearances that would make it exquisitely German – 'vast, scenic landscape seen from above’, wrote precisely Savinio to qualify that taste that lasted until the painting of Hans von Thoma – Dolz’s vision of nature is fixed in a constant light, without cycles, with no natural relationships, and given to the playful dimension of artefact colors [...]. In Dolz’s works we have a resistance of a simulation of space that is, so to say, traditional and entrusted to the traditional means of painting – a hint at an hallucinating, self-reflecting perspective...

Intransigent simplicity

Roberto Borghi
Monday, 14 October, 1996

 

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