Critical Anthology

Franco Cajani
From “Il cittadino” 26th February 1974

The young freshman Alessandro Savelli presents at “S. Rocco” Gallery in Seregno a new and original exhibition…
The paintings of this young man show no vain snobbish attitudes towards the paintings of the past. His canvases are aggregates of poetic moments with the validity of jute support. The sharp language, even if passionate, reaches a dynamic equilibrium that is destined to the user and unpretentious-breaking it better points out, with few visible signs, the squalor, the hypocrisy and mediocrity that characterize our society.


Claudio Spadoni
From "Il Resto del Carlino", Cronaca di Ravenna, 26th November 1976.

At the gallery "Il Coccio” the young artist Alessandro Savelli presents his personal exhibition here in Ravenna, perhaps even in homage to his family roots.
He must be encouraged, in addition a clarification and an awareness of his own works is, even if difficult, inevitabile and necessary. It 's clear that his paintings move towards some coloristic concessions not always rigorously enforced, so that they are much more essential and comprehensive. His works derive from a certain area of operation, in particular it is possible to recognize the artists Vedova, Hartung and Scanavino.
The inspiration is evident, but it is important that he is aware of this and that he will be able to follow his own paths in order to overcome the traditional framework for a more free and spontaneous exploration of an area no longer closed to the dictates of tradition.


Pier Luigi Senna
From the personal exhibition catalogue "Alessandro Savelli”, Broletto Palace, Novara, 1977

His paintings are intense and show a serious alchemy of colors, are vibrant and full of inner movement. His abstraction is a deep sense of magic. There is a perfect balance, in fact the details are interwoven with each other and involve deeply the observer towards a cosmic horizon.
The naturalistic tradition, so rich and felt particularly in Lombardy, was revisited, almost regenerated harmoniously. Without exaggeration Savelli integrates perfectly all aspects of nature.
His abstraction is not rejection of reality but a mental construction, rigorous development of an idea, an intuition, observation resulted from reality. Savelli works in harmony: it is a human intervention "in nature" rather than "on" or "against" it: it is an act of love.
Certainly a real painter.


Daniele Brombin
From "Gazzetta di Modena", 1980

... Savelli is aware that the paths of art are lonely and day by day he meditates and finds the features of his own inner image. His works reveal the traits of the subject while perceiving reality. His paintings evoke the movements of his spirit.
He uses the value monochrome texture of jute, creating an elegant balance among colors.
This outcome requires, above all, a gift that Savelli has and can not be acquired, the "passion".


Pieraldo Marasi
From the personal exhibition catalogue "Alessandro Savelli”, “L’Angolo” Gallery, Piacenza, 1982.

The architect Savelli actually organizes the spaces in accordance with strict internal rhythms and cadences, but the painter Savelli gives "unashamedly" old siege of feelings and passions ... The gentle obstinacy of being a "painter of the soul" and ethereal skies, keeping intact the tools of the job he believes in, is the beginning of a difficult path of innovation.


Miklos N. Varga
From the personal exhibition catalogue "Metamorphosis of landscape”, Cultural Circle "Pro Desio”, Desio, 1987.

The paintings by Alessandro Savelli are just about the relationship between man and nature: in constant evolution between continuity and discontinuity according to the historical periods. We can appreciate the fragrance of an instinctual approach to nature through painting. Painting-nature, it seems, as in "metamorphosis of landscape", human nature, primitive, which reveals the "inner landscapes" of being, in fact, intrinsic to nature.
... A painting of passion, then, in harmony with the" pro-vocations "of nature ...


Riccardo Barletta
From "Terzoocchio" N. 46, February 1988.

... Alessandro Savelli, a young painter and architect, must have unconsciously asked himself what this reality is.
Well, his paintings of the last two or three years can give an idea of the vibrations he feels inside. From the titles "The Garden of Demian", "ancient Night”, "The sea at night," "Landscape of the heart" we learn how Savelli sets emotional places, landscapes ... The works show a strong preference for the indefinite, where matter is seen as continuous invention, an area seen as an indeterminate state that includes both the physical, the psychic, the metaphysical.


Camillo Ravasi
From personal exhibition catalogue, "Tessitore di illusioni”, Fluxia" Gallery, Chiavari, 1988.

The natural combination of nature and culture (precisely the two main reagents of the creative process of the painter from Desio) underlines the "fantastic image" of this painting with a profusion of colors.


Laura Pierro
From personal exhibition catalogue "Alessandro Savelli”, "Artespaziodieci” Gallery, Bologna, April 1989.

Alessandro Savelli’s works originate from a relationship between naturalism and abstraction, mediated by an awareness and sensitivity typically contemporary. In particular, through the meeting-synthesis of the two categories, one external, objectively given or assumed, the other intimate, personal and individual, Savelli seems to indulge in a vision of lyricism.


Angelo Andreotti
From personal exhibition catalogue"Arie Sommerse", “Il Chiostro” Gallery, Saronno, 1990

Alessandro Savelli's work shows a balance between “abstract” and “real life”, and can not renounce to the given nature, presenting it through an emotional exuberance...


Maria Grazia Recanati
From personal exhibition catalogue "Alessandro Savelli", Gallery "La Meridiana", Agrate Brianza, 1992.

... I immediately thought, since my first encounter with the painting of Savelli, of being faced with a true poet, it is poetry. It presents the deep consciousness of the conflict, the internal struggle that is played, moment by moment... The reflection of Savelli begins where the content is steeped in the formal search for a micro-narrative universe, where the image breaks up to preserve the memory of Klimt on forest landscape or certain mixtures of the first Kandinsky. Savelli’s works suggest the process of meditation of the artist as a starting point for the revival of a perceptual process capable of triggering mechanisms of emotional involvement…


Marina De Stasio
From personal exhibition catalogue "Alessandro Savelli", Gallery "La Spirale", Novara, 1993

Looking at some recent paintings by Alessandro Savelli, everyone has the feeling of meeting the painting at the time of its making.
There is the memory of a landscape behind the emotion of a sunset: the day's events run to silence, the tumult of life gradually subsides.
... The movement is often horizontal, the sinuous brushwork perhaps reinforces the sense of mystery, an image that escapes when you try to fix it, the bubbling of color, emotion and gesture,... each work is only a fragment of constant becoming, is a time of continual metamorphosis, a succession of moments. The splendor of gold, the charm of old rose and violet, the energy of red together with black, that is not only a shadow, but also a way to create light.


Angelo Baj
From personal exhibition catalogue "Alessandro Savelli", Gallery "Artestudio", Milan, 1994.

Shapes and colors are ... suggestions: they do not want to define the space and its contents, but rather to evoke, giving several messages and stimuli.
Something told, much more remains hidden.
... The pictures of Savelli require active cooperation with the spectator who must look at the work patiently and calmly. The enjoyment, which derives from these works is gradual as it is the gradual discovery of the elements.


Corrado Bagnoli
From personal exhibition catalogue "Alessandro Savelli", Gallery "Silva", Seregno, 1996.

Can you describe a picture? You can perhaps talk about the music that it plays. Slow movement of clouds in large paintings, however, all on one page, all embraced in a single glance, to overcome the tragedy of time.
Sometimes the tears of a purple oboe struts in front of the blue band of violins, or the muffled tears of a cello that falls on the keys of a piano that imitates the world. Again, all in one glance. Here, perhaps the music playing here, teaches us to look deeply.


Elisabetta Longari
From personal exhibition catalogue "Alessandro Savelli", Gallery "Artestudio", Milan, 1999

... The horizon divides the sky from the ground in almost all works of Savelli. They are landscapes. But he does not represent specific sites but enacts the forces at play. The painting in the making. The change in progress.
... The horizon is not a given "objective" but a product of the perceptual system: the limit is nothing but a "cognitive" eye. Savelli tirelessly puts this threshold as a pictorial device act as to remind that what we see does not match what it really is. He wants to explode the doubt and give rise to the need for a genuine search for truth going beyond what you see at "naked eye". Savelli separates heaven and earth only to emphasize the artificiality, the arbitrary nature of that separation, and to talk about a more radical separation: the difference between looking and knowing how to see.
... Savelli reveals the problematic nature of vision. Then the protagonist is not the landscape, but the movement of the eye, its adventures, its paths, its perception of being in the act of painting. But the vision is something complex, linked to factors not only purely optical. The poets know that there is an "inner eye", a body consisting of more rarefied areas of the self: memory, intuition, consciousness, unconscious ...
The vision is knowledge.


Giovanni Cerri
From exhibition catalogue "Alessandro Savelli, Cortina Gallery, Milan, 2000

To my friend Sandro,
This day, this evening, land like clouds, the sky tells a story, beyond the horizon, sunset of my heart.
These emblematic titles, offered freely in poetic form can illustrate what you do.
How often, in fact, while meeting we agreed that we should not "explain" over the work of an artist, not to present sterile acrobatic interpretations.
Since the early 90s ... I was impressed and surprised by the intensity of color and light in your work. I admire even more your next choice, or maybe it was a necessary consequence, to create those black spaces which made your paintings even more "baroque”.


Marco Bugatti
From personal exhibition catalogue "Alessandro Savelli", Gallery "Sargadelos", Milan, 2000.

Savelli’s painting is love for balance, is a painting, which is shape and color. This aspect, which characterizes the work of Savelli as attention to "doing well", as a morality of execution, occupies his thoughts, while going on working tirelessly on canvas or paper, while he creates paintings resulting from a strenuous and methodical work.


Luigi Cavadini
From personal exhibition catalogue  "Alessandro Savelli", Gallery "La Loggia" Carona, Switzerland, 2002.

Everything leads to memories of contacts, relationships, substances. So the "mental landscapes" of Savelli call the attention: "landscapes" because there are more recognizable levels of reading and "mental" because of the vision and perception of spaces and places which interact and generate new ideas and new visions. Virtual visions, abstract visions.
... In this "game" the land, skies and seas vibrate, urged by the treatment and the overlap of colors, which are never random, but perfectly calibrated in atmospheres that remain suspended and open spaces to the user immense creativity. The visions of Savelli in fact become inspiration, encouragement, incitement to look beneath the surface, to find ways to move beyond. ...


Claudio Rizzi
From personal exhibition catalogue "Alessandro Savelli", Cultural Circle "Seregn de la memoria”, Seregno, 2002.

... Savelli takes after a crusader knight, extremely lonely, surrounded by a dispersed and diffuse horizon, full of spiritual light and shadows of humanity, full of pride and faith. The work of Savelli leads to the imagination, to walk the space of suggestion and imagination.
Savelli ... paints the world. Inner, unconscious, dreamy, with a moral value. An ancient moral value, when the ethics went back to the philosophy and not to rhetoric.


Stefano Crespi
From personal exhibition catalogue "Alessandro Savelli - thirty years - Paintings 1974-2004", Villa Tittoni Traversi, Desio, 2004.

... Alessandro Savelli (as I have met in the circumstances of these years) is a painter of attention, awareness (resulting also from the training curriculum and its study). In the visit to his studio before the exhibition, he showed me his pictures gradually as holding a diary that does not need any special suggestions. Spontaneously it is possible to quote the example of Matisse who said that for a painter their paintings spoke. Matisse's statement is a paradox.
In Savelli art is seen as a principle, ethos, where harmony prevails, as a language where the evidence, the countryside, the motions of feeling, the appearances of the heart tend to a vision, to a sky signals, figures, lost emblems. A conception of the framework that is the dialogue with the canvas with colors, with ourselves, with what is developing.
... Savelli's painting is characterized by the suggestion of expression. In art and literature the night was in an infinite continuity "mystical night", Sehnsucht, longing soul. At night, in the abolition of time and space the lights become more intense.
Not the image evokes the rhythm, cadence, time, but the rhythm, the darkness and the enigma of natural night generate the image, the plot in a creative space and floating time. There is nature with meaning, representation, codes of the day. Here it is the night in his untranslatable sense. ...


Sabrina Arosio
From personal exhibition catalogue "Alessandro Savelli - Notturni", Galleria Civica E. Mariani, Seregno, 2006.

Black is the invisible. Not absence, but the invisible presence. Black that Alessandro Savelli chose for this exhibition dedicated to the sky. A personal vision that is really introspective. Looking up, a black sky, no stars can perhaps create a sense of loss, even existential. Searching the stars mean to find landmarks. But Savelli feels like more being at the mercy than striving through the maze of pure rationality.
... The black heavens by Alessandro Savelli, motivated by his desire to be a painter above all, can give color to the infinite vastity, what may even seem hostile. The same traits reveal the artist's desire to penetrate the mysteries of life every day.
... The heavens narrate the deep black experiences, say the secrets of Savelli that the night is never dark. But the prospect of reading (and hence the suggestions) are infinite.
The intention of the artist, here more than ever, is to recreate pure emotion: one thing is clear: Savelli’s paintings are an attitude of silence.


Claudio Rizzi
From personal exhibition catalogue "Sevidlam, Area Guicciardini, Milan, 2006.

... The rigor of his work, the tones, the balance modulated by the spontaneity that determines consistency of continuity between man and the artist. The hint of a dream turning into a panorama.
The vision is translated into images and details. Savelli does not work to achieve the result but simply to express a painting that creates intimate poetry. What happens then, good or bad, it depends on the observer. Everyone is free to transcribe their own truth, projecting single emotion. The concept of boundaries is not unique evocation of the painter but dynamic and complementary. The suggestion belongs to the meanderings of the mind, comes from memory or unconscious, soul writing as reading, may be suggestions and they become assimilated.
... Observation, when equipped with poetic ability, becomes contemplation and perception.
... Space becomes innate territory and turns into an existential space, soul and dreams, memory and fantasy, and imaginary projection, objective reference.


Felice Bonalumi
From the exhibition catalogue "Dialoghi cromatici", Lazzaro Gallery, Milan, 2006.

"Nature is not hypothesis". Alessandro Savelli is a landscape painter, if the landscape is a set of forms, shapes are not the landscape.
Yet, individual recognizable natural forms in his works are: a moon or a cloud, which are on the canvas for the common code, we could say that stereotypes provide the link to recognition.
Let me be clear: these figures are never decorations. The landscape, the "true" for instance, is not recognizable. We must simply look elsewhere.
Under the form there's color as hidden soul, and not as geometric, as a game between high and low, but as the essence of giving shape and color, to create forms. Paintings with the task of trans-port to the surface what is hidden. Yet there is something more: the chromaticism of Savelli is not obvious, but a multiplicity of shades that the eye can perceive.
Here his work is a masterpiece and with a careful analysis we also conclude that the contrast of colors is what interests him. Contrast that creates harmony, whose foundation lies in the choice of a color as a guide for individual work.


Guglielmo Gigliotti
From collective exhibition catalogue "Timeless", Central State Archive, Rome, 2007.

The painting by Alessandro Savelli is good.
It’s clear: art is always good, like music, poetry, or a walk, but we have a clear case of Savelli perfect painting.
The reason is that Savelli paints vast portions of vastity, inviting the eye to bring the mind far beyond the larger format paintings where time seems frozen, suspended forever in the house of Space.
The immense is what is not measurable by men. Without rhetoric, Savelli expands, gives wings to the limits. The fact is that you are wrong just because we apply to life too tight parameters. Fortunately, there is art that is more like life as it truly is, vast, immense. Painting is a way of life in adherence to life, is an act of honesty, is an ethical gesture of affirmed freedom.


Alberto Veca
From personal exhibition catalogue "Alessandro Savelli", Scoglio di Quarto Gallery, Milan 2007.

Albrecht Durer in 1525, after a night vision, painted in watercolor, now housed at the Kunst Historisches Museum in Vienna, a flood where the landscape is simplified between heaven and earth and a waterfall, that intrusive in the heart of the composition joins the two areas.
The quotation is said after talking about the paintings by Alessandro Savelli in his study, where words, names, problems were added to the images.
... And the composition is one of the focal themes of the speech, the experience of the landscape in this case does not involve "experience itself", but it implies to look beyond borders, subjectively, to acquire the characteristics of the infinite.
... The constant factor of the antithesis between earth and sky, the common reflection on the landscape, is attached to a variable in determining the succession of operating cycles of the artist, the variability of our sense depending on the time and season: the theme of the cycle, the duration of things, and our different feelings, belong to the experience of modern art, when the perception of reality has become the real protagonist.


Gianluigi Castelli
From the exhibition catalogue "Immaginare la realtà”, Corte Valenti, Garbagnate Milanese, 2009

... It is said that every person is an island, and it is not true, every person is a silence, this is a silence, each with its own silence, each with the silence that is (Jose Saramago). And this silence fi
lls the color cast of Savelli, tireless traveler of places on the border between reality and imagination, where memory and present intertwine and overlap, where day and night alternate rapidly to the emergence of fragments, travel notes full of perfumes and spaces. But it is the Blue, in particular that evokes, that makes me fly into the sky of the East, where the light is about to give way to the dark and broken dreams, and possible ... where the body relaxes the muscles and numbness allows the mind to go out and touch free space paths. In particular, for Aboriginal Australians, the power of the dream extends its forces over creative acts. The dream inspired each new song. The black of night slowly removes the blue, to make way to the moon ... It 's time of silence, is the time where you can see yourself in your soul to ponder the wonder of life, down, basically, to the roots.