The Physiognomy of Nature in the Macchiaioli Landscapes of Qamil Grezda
Abstract
“The Drawing School remains the most important institution, the foundation of all the subsequent activities related to the Albanian painting experience ... it was in that school that the best known artists learned the art of painting, those who today represent the golden generation of the tradition of the Albanian painting and sculpture, mentioning such artists as: Sadik Kaceli, Foto Stamo, Nexhmedin Zajmi, Kel Kodheli, Ibrahim Kodra, Llazar Nikolla, Bukurosh Sejdini, Qamil Grezda, Abdulla Cangonji, Hasan Reçi dhe Sabri Tuçi”, F. Hudhri. It is exactly in this group of artists where the painter Qamil Grezda belonged [...]. A quote on the distant shores of the time, but close to the excitement and energy that accompany the landscapes of this painter, who used to live between the feelings, colors, shapes, volumes, lights and shades of nature... that nature, which would be alienated through a process of alchemy in a relationship of close, intimate - almost a platonic love between the artist and this nature... a relationship which served as food for his sensitivity toward the greatness of nature, raving him on canvas...
The relationship of this artist with nature and its dimensions are built on the universal human virtues and foundations, and he shows to be prudent, just, strong and self-control towards it. These four virtues are nothing else but the four cardinal virtues, Virtutibus Cardinalibus[la]* (Prudentia[la]* Iustitia[la]*, Fortitudo[la]* and Temperantia[la]*) which governed the human being from the strands of his creation of clay and water described in the lines of the mythology, until the shaping of his physiognomy and contemporary character.
Keywords: history, analysis, aesthetics, anthropology, art, comparisons.
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