Francesco Venier

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My world

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Mr Francesco Venier is a leading personality in Italy, although he is also internationally well-known. Painter, journalist, columnist, for many years, Mr Venier’s reports find their own space within several Italian monthly reviews, especially in the magazines edited by the Gruppo Editoriale Olimpia, leading publishing company in Italy, owner of several magazines each dedicated to a specific topic. Some of the major Italian newspapers such as il Gazzettino di Venezia (Venice), l’Arena (Verona), and la Nazione (Florence) regularly report about Master Venier’s art exhibitions and their impressive venues. His articles and reports are published by some of the most important magazines worldwide, such as In-Fisherman, U.S.A., Fisch & Fang and Blinker, Germany and Austria, Le Pécheur de France ,La Pèche et son environnement, La Péche de la truite, La Péche des carnassiers, France and Canada, Wedkarz Polski, Poland, Ribàrstvi, Czech Republic. All of these monthly reviews are read in other countries of the same language. Mr Venier is considered a leading personality in the field of art, fishing, tourism and sailing. Mr Venier has chosen some of the most glamorous hotels in Italy as the perfect venues for his exhibitions, such as the Cipriani and Europa e Regina hotels in Venice, the Excelsior hotel in Florence, the Due Torri Baglioni in Verona, the Grand Hotel Continental in Siena, the Grand Hotel in Trento, the Relais Certosa in Firenze, and many others. During his one-man exhibitions, the press has always backed the Maestro Francesco Venier, and the attendance is constantly rising. This is justified by the Maestro’s firm belief that in order to be enjoyed, painting must be integrated in real life and must interact with it still being something alive. Then the emotional harmony that is established between the painter and his audience will be more spontaneous and less influenced by cultural interferences, which often have a negative impact.
The Maestro takes his inspiration from the water, and everything that lives in it. Mr Venier’s painting is positive, colourful, dreamy and harmonic, stylized versions of the real depicted as peaceful heavens. His usual bright colours confirm his optimism towards life, and the neat and clear strokes are a sort of handwriting. It is like writing using symbols, showing how important it is to love and protect life, all on a universal canvass, without borders and barriers, hatred and divisions, where we are all aiming at a perfect, balanced world.
(Abstract from press releases in 2005 and 2006)


My painting.

One could think it is that a painter talks about his own art, not a critic, as happens most of the times.
If I do it, my dear friends, there is a reason behind it. It is that I know myself completely. I know my intimate motivation and my sources of inspiration. Please, forgive me if I sound narcissistic for this is not the intention.
My paintings are always positive, conceptual, and a representation of a constant dream. I do not represent reality, I interpret my world, a world that I aspire to, where every element harmonically interact with the other in a context that is never static, but in a steady evolution.
The humanoid subjects, the animal-like ones, and the backgrounds where they live show the never ending physical and behavioural dynamics. Although having a definite personality, each of these subjects on the canvass are still consciously part of a same living organism, which is the supreme goal of their existence. A corporeal organism, sometimes ethereal and even spiritual, an organism called LIFE, a marvellous anomaly of this universe, otherwise cold, schematic and aseptic. The main source of inspiration for me is life in its everlasting evolution, and its elements such as water. For me, water is to be considered as amniotic liquid, a source of life dating back to the creation of the world. Everything originates from it, and everything would die without it. The fishes, often portrayed in my works, are not just part of the painting, they are our ancestors, our friends, and our companions in the journey of life.
The humanoid subjects are never complete. They are always influenced by animal features, in a constant development of their bodies. They tell us how life as a whole is never static or inalterable, but it changes and develops all the time, following rules that only seem chaotic, but are not. Everything has a reason to be, and each change is aimed at adapting the living organisms to the ever-changing environment, improving every part of their bodies, and at  positively perfect the psychological aspect.
I believe life, although cruel, is always a source of happiness. It is an unrepeatable chance that should not be wasted.
In all of my paintings you can see some idyllic worlds, like dreams of peace and equilibrium we have to aim at, universes to be created and reached. In particular the ability of flying has to be regarded as corporeal exaltation, physical rarefaction that frees the soul from any material limitation.
In my works colour is very important. My vision of the present is colourful. I sometimes use bright colours and sometimes light as a proof of my optimism and faith in the possible improvement of every single thing as well as my faith in the positivism of the human soul. The interaction of colours in my works has a vibrant effect on myself, like music. As it happens with music, who observes the painting will react instinctively, not framed in a specific context. Lines are pure and clear, no graphical hesitations are on my canvasses. This is in line with my need for intellectual clarity and a rational thinking based on respect of priorities and the logical relationship between cause and effect. Therefore, chaos, uncertainty and mistrust in the future do not represent myself at all, even though I am well aware of the difficulties and obstacles to overcome and the recurrence of historical patterns. In my opinion, what is important is to always be aiming at an improvement, both spiritual and practical. All of my works have been painted using English synthetic enamels, thin brushes number one or two, and of course all is made by my own hands.
I usually display them in the most prominent Italian hotels, such as the Cipriani and Europa e Regina hotels in Venice, the Excelsior and Relais Certosa hotels in Florence, the Due Torri Baglioni and Leon D’Oro otels in Verona, the Grand Hotel in Trento, the Continental hotel in Siena and the Tower Hotel in Bologna. I tend to display my works in these places because I am convinced that if people enjoy art outside its typical environment, they will communicate with the painter in a much freer and instinctive way, without any sort of intellectual hindrance.
Painting for me is a visual communication. It is an international language without the need of any third parties, and therefore when communication starts, then an intimate dialogue is born. It is a blending of souls.

Francesco Venier


My painting

“Mirror of our existence and of a dreamlike world”

How can one talk about himself and about his artistic inspiration? How can one tell many people, often so different, his own motivation and personal aspirations while being truly sincere and on the same wavelength?
How can one be really himself, freed from the usual clichés? Dear friends, this is hard work!
By emptying your mind and trying to speak freely such a thing is not impossible.
I shall tell you now the reason why I have decided to present this report, quite unusual for a magazine about fishing.
For years many among you have been reading my pieces, know my passions, and can therefore regard my article as the sequel to an open debate.
I hope others will find the answers to the many questions I am so often asked at my one-man exhibitions. For example, “why do you paint like this?”, “what is the meaning of this picture?”, “what is your technique?”, in addition to several other questions.
The world of painting involves a varied environment, where endless styles are part of it, reflecting the most peculiar psychological motivations.
Sailing in this “infinite sea”, known as painting, I am trying to free myself, and make an effort to explain who I really am and what my dreams are. My inner desire is to communicate with whoever is looking at my paintings by using a language, which is as spontaneous as it is universal.
In my opinion, painting as well as music, does not require any specific knowledge or cultural education to be understood. If you like a picture, and find some sort of satisfaction in the colours and images you see, then an instinctive symbiotic relationship between the artist and the audience has already been established.
There is no need for finding explanations or any other reasons to dignify the work of art. The contact with the public has already started! Later every one will interpret the painter’s world his own way, following one’s needs and sensitivity, then becoming one of the “inhabitants” of this world.
I am deeply convinced that when a painting needs clarification to be understood by the audience, this means the instinctive relationship is just not there. The artist’s world and the audience’s understanding of it remain two distinct realities. The painting is only passively understood on the basis of private intellectual standards. There is no such misleading commonplace as the need of a cultural background in order to express judgments. In my opinion, an excess in education could at times be a strong intellectual influence and inhibit the genuine reawakening of emotions.
The Birth of Venus, by Botticelli, any of Caravaggio’s Madonnas, Van Gogh’s landscapes, Modigliani’s female figures, are few of the masterpieces that move you. They get inside your soul, like a kind of universal of music, going beyond ethnic, social and cultural differences. They are without a need for any explanation. This is magic!
In each work the artist’s originality is clearly perceived as if he was next to you to experience that unique moment, that exclusive feeling.
Referring back to my painting, what the critics say about my works that I appreciate the most, is that my style is original and does not follow any specific school or trend. It expresses a free and independent personality.
You may like it or not, be it defined a masterpiece or just rubbish, each of my works fully represent myself and does not need any theory in order to justify itself.
Nature and water, the source and origin of life, are the main sources of inspiration for my works. Inspiration only, because my aim is not a faithful representation of the real.
When I work colours and subjects start to live. My artistic expression is then subordinated to my own world, where everything is instinctive and often primitive.
Stylized landscapes, sunsets or sunrises, in all of my works, are for me like a goal, a peaceful heaven where I can find my shelter.
The fishes I always paint are not to be considered as a representation of the real, but as an intellectual exaltation of an ancestral life coming from the water.
They are active subjects, silent witnesses of the perfect balance of nature, our companion in this travel, sincere friends, progenitors, and brothers at the same time.
The female or male subjects, often lonely (but never alone!), always unfinished and intentionally hybrid represent a personality in constant development, they are like main characters, but still subordinated to the context in which they act. They live in a special world, sometimes as if they were its owners, always positively influenced by it, in perfect harmony with all of the elements. These subjects also have some features that are typical of other species, such as wings, palmate hands, or tentacles similar to snakes. I do not mean to create some creatures that are autonomous for the simple fact of being different, but my only goal is to paint the continuous evolution of nature.
Therefore, life becomes the result of interaction and constant mutation. Each thing has to be regarded as part of a whole living organism, never still or unaltered, but always mutable.
Looking at my paintings you will notice straight away the definition of my stroke, the importance of movement and colour in creating an image.
The final result is instinctively understandable, simple but not simplistic, like a language based on symbolic elements that interact with one another, but always different in lines and space.
To give an example, it is easy to see how my idyllic landscapes can be either the scene where the action takes place, or subordinated elements, surrounding humanoid creatures, in circular spaces, in restrained spaces that are drawn by movement.
Landscapes can be the main background for the work, in other cases they are strictly contained in defined spaces to give shape to wings, bodies, tresses or fins.
Also landscapes are contained in spaces created by the movement of the main subject, or in circular spaces, like windows on my dreams.
The pure, sharp strike witnesses my personal aspiration of intellectual clarity. Mine is a world where equilibrium reigns, easy to interpret, devoid of uncertainties, where priorities are a certain fact. Colour, then, is the main element. Maybe it is because I am a positive and optimistic person, that I always see the world in vivid colours.
Colours are life for me, like music and fulfilment of our soul. Definite and bright colours, that one next to the other build a harmonic system. They are straightforward because they are easy to understand.
My dear friends, I think I have been telling you too much now!
As I mentioned at the beginning of this message, the paintings are what matters, not their explanation. If looking at them you somehow feel tied to them, then it means that I have been successful in communicating my emotions to you. I hope you will be interested in looking at more of my works, so please get to know me better and log on to my site.

© All of the images on this website are copyrighted original artworks by their author and are protected by international copyright law. No materials in this gallery may be reproduced, copied, downloaded, or used in any form without written permission of the contemporary artist Francesco Venier.
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