The term German Einfühlung alludes to the possibility of “feeling inside” or “feeling into” something. The first artist to formulate an idea of painting based on this process is Robert Vischer who in 1873 studied some notes of his father, Friedrich Theodor Vischer, which states: The different dimensions of the line and the surface, the differences of their movement act symbolically; the vertical rises, expands the horizontal, the broken acts more vigorously on the line, remembering how to bend and change his direction of the inner life. From here originates the idea of an affinity between the forms that inhabit the space and feel man. And consequently between what the artist sees and forms it creates. There is essentially a kind of continuity between the stimulus produced in the brain by what you look and recreated the picture in a picture. The Impressionists had already taken account of this link between vision and reconstruction of reality. In fact Monet, Manet, Renoir sought to reproduce on canvas the snapshot image imprinted on the retina by light stimuli, recreating on the canvas a vision already deposited in the consciousness. It should in this context points to a fundamental distinction between seeing and watching: watching contains something contemplative and mystical, is what excites the artist. In this sense does the definition that Konrad Fiedler in a 1876 essay gives the visibility concept. Visibility is aimed at finding an order in the phenomenal world, that is the reality of what appears. It is almost a spiritual faculty disconnected from the mere fact of seeing, if anything, is something that concerns the memory of what we have seen and experienced. The artistic activity begins when man is faced with the reality, intended as a visible reality, as in front of something infinitely difficult, and when he pushed by an inner necessity grabs the mass of the visions that surround and penetrate almost violently and develops up to give them definite form. the process that begins and ends in the eye hand of the painter leads him from ‘darkness and narrowness of its representations to liberty and figurative art thus becomes clear that the expression, the language of objective creation.From here starts expressionism; from here – I would not know how consciously – comes the pictorial manner of Francis Toraldo, southern man, born an artist under the guidance of a father who was also a painter, however, tied to a landscape that harks back to the romantic school. Go now said that all the painting by Francesco Toraldo develops always in two directions: there is an inclination to color mediated through the influence of Guttuso, artist loved and admired from which it takes the color of the yellow filled street in the sunshine, in bold reds and blazing, in deep blues. But there is also a drier path and taciturn that is to a soft sign yet decided, where the pictorial gesture is strong as much as the color intensity. In this sense the work of Toraldo veers toward northern Europe, those smoky atmospheres and pregnant with smells and sounds that fill his paintings devoted to jazz. This shows, needless to even specify it, it’s all built on the notes of jazz. The occasion is the “Pescara Jazz” 2005 edition Toraldo but did not really need an external input to implement the process of which he spoke, seeing and then l ‘express emotion. A view that while it is felt, both in the usual sense of the term (which is worth listening to) is more underground and privately. Feel that music can be transposed and, to use a contemporary term, burned, in painting. The night-time atmosphere of the whole production of Toraldo dedicated to jazz embed sound mixing and matching to the color on the canvas, even turning them into color. The familiar faces of the greatest jazz musicians of yesterday and today will materialize in the paintings and, although the choice of a figurative tense informal it dissolves the features are recognizable and alive. How alive and sparkling is the music they play in the paintings. The palette is played in bright red that fade in a burned dense, almost violet in the night blue in certain folds of music
which becomes dark and low, or in open green flag and ringing and still decided soiled orange yellow. But is the black to delimit and define the scene, while the white is used to coagulate the light there where necessary. On the shirt and on the Zoot Sims saxophone keys (Blue Note), on the arms and hands of Richard Galliano and his soft South American jazz; on the fingers and on the concentrated face Gayle Parker, on the beard of Joe Henderson.Precisely the source of the music: hands, fingers, mouth and breath therefore, emerge from the rest of the painting through this chalky white skilfully mixed with an atmosphere that remains night
Even when the blaze color. The Duke Ellington swing, Cecil Taylor and Anthony Braxton escapes from paintings and spreads in the air. And to produce this magic is the phrasing of painterly gesture and color. There is no doubt that the music in this series of paintings is at the center of Toraldo, yet there has not been pre-selected, but found out how it was a chance meeting. And then with the theme he came to coincide with the painting; the color is not exactly become music, but music, jazz. This exhibition thus becomes a historical document dedicated to some of the largest and best-loved jazz musicians in the world, but it is also a document of how the pictorial sensibility of an artist can unleash something extraordinary, namely urging not only the sense of sight. The Red Jazz paintings can be watching that feeling.
It should be added an important fact. The season of jazz was not a choice mediated by profit motives, indeed. With this series of works started a few years ago, Toraldo occurred on the Italian scene almost counter. In years when the iperfigurazione is dominant, decide for a painting that collects in the stretch the informal legacy may even be a risk. Yet it was an accurate prediction, because only the fluidity of such a painting and the serenity of a free gesture could give this issue the movement necessary to the reconstruction of a musicality otherwise impossible to obtain. Therefore it was also a problem of form. Our artist has decided not to sacrifice anything in aesthetic fashion, he preferred the breath of works full of surprises and surprises, fishing in their hearts the way to achieve the insight that the sound can also be colored.
Namely the ability to take risks through the pictorial gesture conjugated with a specific palette. Which, as we have seen, has moods and not as discounted variable. It came out a kind of spontaneous informal led Toraldo to build a new chapter in the long history of this way now born. Aftercurrent and the New Front of Arts, from the hand of Ennio Morlotti. It must, however, make one point: the informal totally eradicates the shape of its housing, the manner of proceeding Toraldo uses just the color liquidity and the ability to overlay the glazing so as to obtain a brushstroke not over yet able yet to describe what happens, in this case the occurrence of the music.
Man and sensitive artist, with a passion restrained yet vibrant, Toraldo found in jazz a formula to tell her own pictorial thinking failing to impress on the canvas the rhythm and the heart of those sounds. That is why his shows included in the XXXIII International Jazz Festival is not only a tribute but a gentle and significant complement to the whole event. Red Jazz suggested some sort of exchange and possible contamination between the two arts, kicking off roads even passable in the future.
Anna Caterina Bellati
Milan, Spring 2005.