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1972 |
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A
spontaneous and genuine painter, who avails himself of a
well-done treatment of the colour that does not prejudice
violence to the figures imprint on the painting and on the
whole, he is equally clever at using chromatic harmonies.
His works break a little away from traditional type with
often successful attempts to produce, we will say on life
scene, a new matter and from here a new interpretation of
his upset feeling, with his typical backgrounds of the
difficult situation and of the anguish of our times, which
particularly reveals itself in many young artists. |
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V.T. |
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1973 |
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Bonnie-Kent is a spontaneous, instinctive and very
sensitive painter. In all his works, he which always leads
to good result, he avails himself of a technique in which
the chromatic and structural treatment is never
excessive .His treatment is not exaggerated as those of many
other painters used to be, but it is in tune with
coherent and indispensably form is exigencies, which are the
characteristic art marks. We have followed him in these
last years, and we have seen him tremble of emotion
every time he has launched to propose a new speech, a new
interpretation of a lifes image, of his feeling as a man
and as an artist, deeply upset in the growing confusion of
every day is life. But Bonnie-Kent has always continued the
beauty of images, in technical perfection, because of his
vigorous will, his artist feeling which gives him new
energies and alluring hopes in the very difficult field of
figurative art. Seen from an aesthetic point of view, the
young painter has succeded in very little time to master
from amalgama of form and content, that is the most delicate
moment of the artistic creation. He succeeded in presenting
valid works under this aspect. |
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V.T. |
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1982 |
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The attention of Bonnie-Kent in regard to
reality leads to the consideration of normally disgregarded
details, which he revives in an expressive optic. This optic
aims to discover the sign of essential consideration. His
agreement to figurative art as complete representation
doesn't prevent him using the symbolic terminology which is
more accentuated in in certain pictures, creating emblematic
atmospheres. his is the case in some still-life, which are
created as a representation of some emotional moments, yet
at the same time full of meditative tension which can be
found among the signs of structural composition and of the
cromatic language. The constant search of the artist to
amalgamate the formal and content components, find the
synthesis in the chromatic choises, made of discreet colours
in the background and light colours in the foreground, with
a meaningful series of contrast. |
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S.P. |
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1983 |
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His painting is harmonious among the warm and the
dense colours, which are hidden under his inimitable
palette, wonderfully happy in profile of girl and
still-life with book . Bonnie-Kent's paintings are
full of light and poetry, with feverish hand and
strong inventiveness. We have only to emphasize the
cleverness of this young artist, who knew in a short
time how to become popular for his modern painting,
spread with colours and precious for deep poetry. |
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G.M. |
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1983 |
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Bonnie-Kent is an artist gifted with great
sensitiveness and with a marked sense of
observation. His works witness a keen, participating
and vital interest in comparison with reality,
because according to this artist the art is a
vital interest for the existence. He is very
sensitive to beauty and is generally projected
within the ambit of an aesthetic pursuit, which
could show up, in the light of psycho- analytic
perception, the pure conceit, the idea of notion
acquired from the experience of the empiric ego.
Paint, charcoal and china ink clarify in their
creative breadth, the need of search of this
artist. The works realized with charcoal symbolize
the reverse of the medal of Bonnie-Kent. The artist
raises from the notion of objectify the figure of
the woman in abstract form, separating it from its
physical essence. An appearance comes from this
separation, an illusion closely bound to the
perception of the creative ego, in comparison with
the acquired notion about which the subject
has had experience. We define Bonnie-Kent s works
Studies of aesthetic criticism where sensitiveness
and rationality are present in the same proportion. |
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G.P.P. |
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1983 |
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In the diorama of contemporary Painting, valid artists
deserve to be taken into consideration, for the artistic and
cultural apparatus which modern society need to evolve its
level of culture; Its human and social relations. One of
these artists is Bonnie-Kent Paul, Born in Cattolica present
in several artistic dictionaries and encyclopedias of
contemporary art. He deservedly succeded in imposing himself
on the attention of the criticism and of the public opinion,
for his pictorial modus always looking its own creative
language. Autodidact, he has been painting since 1969,
steadily, emotionally and with positive will. These
quailties have proved he is right and have brought his name
trough review of art, in various European Capitals and in
the United States, to a position of a first-rate artist.
Bonnie-Kent is an artist endowed with a wonderful creative
sensitivity and with a strong sense of observation. His
works bear witness to an always keen, participating and
vital Interest for the reality because for this artist art
is life. The vitality that spreads from life to art, is
always reflected in the author, observing, daydreaming, in
the radius of the figures: in the development of hiseelings
and emotions. In his all a cosmos is lighted in the spring
of thoughts f concepts, bound to a primigenial emotional
impetus, searching into the nucleus of imagination, the
sharp net of feeling. Hes usually very sensible to beauty,
and hes projected in an aesthetic research, which can point
out. I the light of the psychoanalytical perception the pure
concept, the idea of knowledge acquired from the experience
of the empiric ego. Paintings nudes and still-lives show the
stamp of an intimate dimension, interwoven in the harmonic
arpeggio of warm and winning tones, in the wise study of
discreet lights, gushing from the vein of a lively emotion,
effect of an eloquent lyrical enthusiasm. But the most
interesting in these paintings Bonnie-Kents
perceptive-constructive ability, tending to a careful
research of figurative elements, which carrying out an
expression of form, can promote in the substantial
prehensive psychic perception to understand them in the
revelation of their aesthetic value, creates the ideal
condition for a critical medal of Bonnie-Kent, showing the
bottom of our artist, drawing a parallel between lives and
fantastic between reality and illusion; he defines these
creations illusions; in fact in art-philosophy subjectivism
and illusionism go together. The artist moves from the
notion of objectives to objectify the figure of woman in an
abstract form, isolating from her physical essence. From
this separation an appearance an illusion come out and she
is intimately bound to the perception of the creative ego,
in comparison with acquired. Notion, which the subject has
already known by experience. The series of illusions women
in profile, meeting etc. are forms and sentiments
objectified, intuited in the space of an illusion, like
something of ultra-images with specific aesthetic
characteristics; something that gives spiritual delight
stimulating in the subject the aesthetic feeling of rhythm,
of harmony, of grace; disclosed like essential qualities of
the object, realized in a contemplative perception. We can
define Bonnie-Kents works studies of esthetic criticism
where sensibility and rationality partecipate both in the
same measure. |
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G.P.P |
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1985 |
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In order to sensitive the public opinion towards the
expression of the master Bonnie-Kent, who is worth knowing
and appreciating for his laudable activity carried on during
the past years and, with a more intense passion, he is
carrying on the present year, I have given all my
enthusiastic approval and I feel honored to pointing it out
with this writing. Guttuso, Annigoni, Vespignani, Dova,
Quasimodo, Ungaretti, etc, do not need introduction in
conformity with personal value. I wanted to point out this
artist, for his complete devotion to noble art, in which he
excels for uncommon merits and authentic value, because I
want to mention him as an important example, a reference
point and a milestone in this intricated world he belong to
with full and sacred right. |
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A.S. |
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1985 |
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Oil, charcoal and china ink are the techniques that the
artist prefers and masters with great skill and originality
in artistical creations. The meaning of drawing is awfully
valuable and its stylistic perfection follow close the most
new currents of modern expressiveness, which his however
rewrote with very personal and intimitate taste and
purposes. So the poliedrc aspect and the plurality of
reality are decomposed into an higthly psychic
interpretation, which aims at disclosing its most secret
interiority. In artist's paintings there is not space for
fashionable and manneristic attitudes, but everything is
entrusted to a visualization of the matter, which is
proposed with efficacious and linear marks in their
simbology. The chromatic perception is not only quite
conformed to the thematic expressiveness of the single
works, but it intervenes in an autonomous way in the
creative process, offering a thickness of expositive
concreteness through the "impasto" and the choice of the
optical effect. In this sense, every painting positively
feels the effects of the atmosphere of experimental search,
where the artist is committed: the result is an art, which
is always in tension and in motion with itself and with the
surrounding reality, like a true evidence of aesthetic
anxiety of the contemporary creativeness. |
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M.T.C. |
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1985 |
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In artists life there is always a
continuous evolution, an interrupted ( ripening and
woe if it is not like this), so the pictorial matter
develops in syntony with life reality and with the always
new models of man behaviours, which are definite from
imminent events, that distinguish our existence. The same
has been for Bonnie-Kent, when, 1969, he began to express
himself using pencil and paint-brushes. He obviously did I
taking, advantage of the clearest and immediate language,
which was easy to understand but in comparison, you discover
the artist creative anxiety, his anguishes, his joys, his
inner torments. So that you notice the whirling of
sentimental tension in that new statement to which he
devotes his best attention and it is not certainly devoid of
emotional stimulus in its geometry. In figurative climate
Bonnie-Kent was able to create an atmosphere of
convincing communicativeness also in that dynamics of
chromatism maintained on dark tones by transcending
illustration and by impregnating every painting with quivers
of his personality. You noticed the latent reflex of a
different and very definite geometry already in those works
(we intend oil-painting), which has cleared up and asserted
itself arriving at hiscomplete realization. The new
dimension of the painter from Romagna fits in a nearly
conceptual way of seeing the essence of things and however
it does not mean abstraction from feelings, from his
sensitiveness or exasperated obscurity, but it realizes in
every work, a frenetic world of passions, perceptions,
dreams and sensibility, It is certain that the subject must
be discovered, localized in those geometric compositions,
sought and understood, so abstract by anybody, and that is
the figurative language. Then the time modified many things
on the outside with identical incidence in Bonnie-Kents
heart, who acquired little by little, a new way of
expression with certainty and sincerity. We do not want to
condemn or to forget Bonnie-Kents previous production. On
the contrary, we consider it still valid, but in comparison,
you discover the artist creative anxiety, his anguishes, his
joys, his inner torments. So that you notice the whirling of
sentimental tension in that new statement to which he
devotes his best attention and it is not certainly devoid of
emotional stimulus in its geometry. In figurative climate
Bonnie-Kent was able to create an atmosphere of convincing
communicativeness also in that dynamics of chromatism
maintained on dark tones by transcending illustration and by
impregnating every painting with quivers of his personality.
You noticed the latent reflex of a different and
very definite geometry already in those works (we intend
oil-painting), which has cleared up and asserted itself
arriving at his complete realization. The new dimension of
the painter from Romagna fits in a nearly conceptual way of
seeing the essence of things and however it does not mean
abstraction from feelings, from his sensitiveness or
exasperated obscurity, but it realizes in every work, a
frenetic world of passions, perceptions, dreams and
sensibility. |
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M.D. |
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