Critic Notes of Beba Marsano                                                                         vai alla  versione italiana

"INCANDESCENCE"

Crovetto has often wondered what he woud have been like to encounter the light of Tuscany. How would his eyes have reacted, how his spirit would have been affected and most importantly, what influence would have been on hi painting. He knew that the light awaiting him there was different from that he had exeperienced thus far. It would be soft, velvety, submissive, and sweetly radiating. But it would also be terse, crystalline and rational, cpable of calming passions rather than in feverish insomnia, epitomisingbalance and measure, the dogma thaugh by the painters of the Tuscan school. Such light had nothing in common with its saturated, full-zenith counterpart in Southern France which Crovetto had experienced during his previous two years. Nor was it similar to the vrbrant, absolute light of Liguria, where Crovetto was born, lives and works. The Summer light of Siena, languidly lying on the town's monumental masonry, on hilltop hamlets, on the countryside and the clary-rich soil enriched his palette with previously unknown hues, strokes of gold and oachre borne of the land. But a palette so brash and aggressive was not to be overcome by such an unfamiliar softness. The fauves likened their colours to "sticks of dynamite"; Crovetto in fact esteemed the fauves and his masters, tpgether with the German artists of the Brücke school (Kirchner, Heckel, Schmidt-Rottluff). If for Matisse the colour was the natural expression of the emotion and for the expressionists it was a tool for forcefully communicating social and existential suffering, for Gian Marco Crovetto it is the language of the choice actually, the only sincere language possible for confessing himself to others and reconcilling the word to himself.