CONTEMPORAN ARTWorks Artist Expo/critics Studio Contact
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Conversation face à la mer H s Toile 65x46cm
La Solitude H s Toile, 100x81cm
Chaises longues H s Toile, 65x50 cm
L'arbre barbelés H s Toile, 73x60cm
Le figuier H sToile 50x40cm
L'arbre jaune H sToile, 100x81cm
L'arbre rouge H sToile, 100x81cm
Le petit Miterrand H sToile 55x38cm
Le grand arbre H s Toile, 130x97cm
L'envolée H sToile 50x65cm
L'enfant à la balle H sToile, 50x70cm
Arbre vole Tempera 1988, 55x46cm
Les indifférents 2 H s Toile 61x54 cm
La tempête H s Toile, 50x70cm
L'annonciation H s Toile, 92x73cm
Positano H sur toile 65x54cm
L'usine de Bobigny, H s Toile, 55x46cm
Petit Positano, H s Toile 59x43 cm
Leçon de rhétorique H s Toile 50x70cm
Les trinités, H sur toile 1970, 30x40cm
La pomme de pin, H s toile 30x50cm
Bouquet lys jaunes, H s Toile, 50x70cm
L'évasion H s Toile, 46x38cm
Les roses jaunes sur fond rouge H s Toile, 50x70cm
Les anémones H s Toile 55x46cm
Hommage à Magritte H s Toile 81x54 cm
La feuille de chou, H s Toile 100x81cm
Virgilio has made many sets of theaters in Italy, including Bologna, in parts of L and L Leonesa Machiavelli.
The opportunity presented itself in France for the theater of Neuilly in 1985. Virgilio did the sets and designed the costumes for "L'avare" by Moliere.
It has sought to make the scenic in a historical, social and psychological way, giving the scene the appearance of a bourgeois apartment, in a neighborhood representative, as was the Marais of Paris at the time of the Moliere's comedy (...).
The medallions, the abacus, the arms found their place here by a little caricature, but also to fill the stage space and involve everyone in any one table.
Some balusters created "chiaroscuro" Baroq while highlighting differences in social classes.
A magic tree behind the gate of the garden was the treasure of Arpagon, while in contrast a "sculpture" consisting of broken chairs, demonstrated a pernicious negligence.
The idea of costumes resulted from a research on engravings of the time. However, I avoided braids and gilding, so that the viewer's attention is focused on the actor as clothes. Finally, if the "real théatral" can guide us in the Moliere's poem , I used whole tones, as found in the paintings of La Tour and Guido Reni.
The artist has made numerous decorations from the years 1970 to 1973 with a fresco of 25m2 for the cultural center of Bobigny, near Paris. Virgilio made several official commands in Paris of frescoes adorning the walls of several schools. In 1985, for a school in Pihet Street in the 11th district. The following year, he created an oil on canvas, 3.50 x 2m, for the city of Paris. In 1987, he decorates a room in the college rue Yvonne Le Tac, in the 18th arrondissement of Paris. In 1989, also for kindergartens and elementary school also in the 18th rue Ferdinand in Paris.
He also works on private sites. He had made decorated murals in a particular pool (53m x 2.5m) for a villa in Geneva in 1989.
The fresco of Lattes, in 1993, is the most documented. It is a canvas painted in oil and fixed on a convex wall of 8 m. x 3 m. adorning the marriages living room from the mayor house of Lattes, in south of France.
The subject recalls the history of the region with its Roman road, its fragments, its landscapes and its maritime activities. The couple shows the humanity and its continuity, the child open to knowledge and science represented by mathematical cubes ...
His last major project is the restoration of the sixteenth century frescoes and paintings of the ancient convent of the Capuchin in the "Romita", the American school of painting, of Terni in Italy, during 1997-1998.
(Edition exhausted. See the BNF, and the library Pompidou Paris).
"The Arts, money and vanity"
"Let see the budgets required for various artistic activities. For the budget of a musician, there is the location of a piano or other instrument, buying music paper, scores for dance shoes For a poet, an office a few papers etc ...
On the opposite, for players of the visual arts, if we look closely at the manufacturers of equipment for the Fine Arts, while marketing is done around these products, we arrive at a mass of very important cases, not counting editions of art, the incredible number of galleries and, for some, the rental of their walls, it comes as the suspicion that a mysterious force and speculative push the world towards the visual arts.
The exaggerated number of journalists interested in culture and in the development of plastics, skyrocketing number of museums, their staff, etc ... etc ... encourage freedom of expression. When finally the quality of the product in question is an incomprehensible misunderstanding, I wonder why all this, especially if one considers that the protagonists, a majority of artists are paid less than the unemployed, That is to say less than minimum wage in France.
But it does not matter if someone gets lost "en route", there is always a wind that grows new layers of vanity men and women and vain who are there to practice their "art" more art than Art, "as the whitest of white laundry". (expression from Coluche french humorist).
"A problem of aesthetic"
"One of my students at the composition of a still life, a vase with white flowers, had exaggerated, in perfect dilettante, the quantity of material to make description of flowers. I did point out that this effect was unpleasant and even a little vulgar. I took a sheet of white paper that I pressed on the canvas as a blotter to absorb excess paint. At the end of the operation, quite by chance, canvas took a damn harmonious, the trigger point of the admiration of everyone in the workshop. Despite this, I told the student to continue the work, to deliver a clean result witch reflets its sensitivity. This has delighted nobody.
The same evening, I 've had some friends invited with competence in the art. To enliven the conversation and see the attitude of everyone, I outlines the problem. The question was whether art needs the "casual" that chance. These were divided into two: those who said that the finished product is what counts and those who said that the product obtained by intelligence is the one who bears the responsibility of art. I am in this second position. And in this specific case, I find it difficult to determine the allocation of "work" as long as it was I who had thin the colors. I mistrust the good faith of the "casual" because the term recurrent front as the painting obtained was "cool, genial ". That word means nothing and when words have no meaning, it is impossible to defend a theory.
In my trial, a work, whether art or craft, must be the result of the awareness and knowledge. Otherwise, we must change profession. "