A love of painting has been my companion since my childhood - I was eleven years old when I tried to reproduce the sky, laying blue thickly on the canvas with a painting brush. The idea of including photographic images in my paintings, ripened at the end of sixties - the years of the School of Fine Arts - and I was fascinated by the Dada movement, and by the anti-art, by intelligent flavour for provocation. Duchamp, Picabia, Arp, Tristan Tzara and Man Ray were my juvenile landmarks. I pay a deep tribute to modern art and to vanguard artists up to Pop Art with Rauschenberg, because they improssed not only my work and my relationship with Art, but my own life too.
In nineteenseventy, when I bought my first camera, a Nikkormat Ftn, I really did not have any knowledge about photography, and stops was something I just heard about. But is was love at first sight. Art, Bauhaus, Gestalt, visual perception and the "Theory of the field" have been my "Nutella".
Photography entered my paintings as an anchor to reality, and as a first reading to the complexity of a work of art, to follow a total involvement in society, very popular at that time.
Between painting and photography
Corinto Marianelli Il Book Professionale e la Ricerca Artistica
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