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decisione 3, 2024, 65x160

fioritura 1, 2023, 146x146

recipiente 12, 2023, 148x118

sintonia 4, 2023, 118x140

insieme 13, 2024, 80x190

nota aperta 6, 2023, 114x114

punto di vista 16, 2024, 170x150

recipiente 15, 2023, 110x110

punto di vista 15, 2023, 112 x112

notturno 7, 2024, 190x225

tempi sospesi 2, 2022, dittico, 110x315

visita inaspettata 12, 20123, 118x118

decisione 3, 2023, 118x118

rosso 4, 2023, 118x118

tempi sospesi 1, 2022, 115x200

tempi sul tempo 3, 2021, 190x170

spazi riciclati 1, 2024, 112x112

punto di vista 11, 2016, 140x115

mare 1+2, dittico, 2022, 150x280

notturno 5, 2022, 170x190

notturno 2, 2022, 170x190

finestra 1, 2023, 110x110

visita inaspettata 8, 2022, 112x112

sintonia 1-3, trittico, 2023, 90x270

visita desiderata 1, 2023, 170x190

you name it 19, 2022, 118x148

quattro forme 1, 2023, 140x140

visita inaspettata 11, 2022, 140x140

inizio 6, 2022, 150x150

incompiuto 2, 2022, 190x225

nudo 1, 2023, 80x190

decisione 1, 2022, 170x155

tempi sul tempo 1, 2021, 180x230

you name it 38, 2022, 148x118

you name it 37, 2022, 148x118

recipienti e tempi 1, dittico, 2022, 118x296

incompiuto 6, 2022, 118x118

libera scelta 3, 2021, 170x160

notturno 1, 2022, 135x135

you name it 22, 2020, 80x190

4tempi 1, 2020, 80x320

incompiuto 3, 2021, 118x148

nota aperta 8, 2020, 150x140

you name it 33, 2021, 140x140

recipienti 52, 2019, 118x118

Image and viewer                                                                              

 

With the advent of modernism, painting has become increasingly detached from the representation of an object. But what can be seen in an abstract painting if, for example, a familiar object is not recognizable? What does a painting "tell" us, especially when, as in the present selection, it is a matter of arrangements, transparent or even dominant color accentuations and compositions? 

 

This is the question that the painter Arnaldo Ricciardi deals with. The viewer of Ricciardi's work is also equally confronted with this circle of questions - especially if, on the one hand, he does not want to make a judgment of like and dislike and, on the other hand, does not want to leave his works solely with the fact of what they undoubtedly are: abstract, dialogizing compositions.

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