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Francesco Venier
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Francesco Venier's Page
Profile Information
- About Me:
- I ask you a courtesy.
I can not speak and do not understand English well.
If you want to buy a my painting, write me an e-mail to my web address:
info@francescovenier.it.
In the e-mail attached the image of the painting or paintings you want to buy.
After checking if they are still available, i shall respond to you immediately indicating:
- Price
- Payment methods
- The methods of delivery
If you speak Italian, you can call me:
cell. +39 338-4791736
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Se desiderate acquistare un mio dipinto o più, scrivetemi una e-mail al mio indirizzo web :
info@francescovenier.it.
Nella e-mail allegate l’immagine del dipinto o dei dipinti che volete acquistare.
Dopo aver controllato se sono ancora disponibili, vi risponderò subito indicando:
- Il prezzo
- Le modalità di pagamento
- Le modalità di consegna
Se preferite, potete anche telefonarmi :
cell. 338-4791736
Francesco Venier
Via Borgo S. Pietro, 45
30173 Favaro Veneto (VE) Italy
WWW.FRANCESCOVENIER.IT
info@francescovenier.it
cell. 338-4791736
"Abstract from press releases in 2008 and 2009"
Mr Francesco Venier is a leading personality in Italy, although he is also internationally well-known.
Painter, journalist, columnist, for many years, Mr Venier’s reports find their own space within several Italian monthly reviews, especially in the magazines edited by the Gruppo Editoriale Olimpia, leading publishing company in Italy, owner of several magazines each dedicated to a specific topic.
Some of the major Italian newspapers such as il Gazzettino di Venezia (Venice), l’Arena (Verona), and la Nazione (Florence)regularly report about Master Venier’s art exhibitions and their impressive venues. His articles and reports are published by some of the most important magazines worldwide, such as In-Fisherman, U.S.A., Fisch & Fang and Blinker, Germany and Austria, Le Pécheur de France ,La Pèche et son environnement, La Péche de la truite, La Péche des carnassiers, France and Canada, Wedkarz Polski, Poland, Ribàrstvi, Czech Republic. All of these monthly reviews are read in other countries of the same language. Mr Venier is considered a leading personality in the field of art, fishing, tourism and sailing. Mr Venier has chosen some of the most glamorous hotels in Italy as the perfect venues for his exhibitions, such as the Cipriani and Europa e Regina hotels in Venice, the Excelsior hotel in Florence, the Due Torri Baglioni in Verona, the Grand Hotel Continental in Siena, the Grand Hotel in Trento, the Relais Certosa in Firenze, and many others. During his one-man exhibitions, the press has always backed the Maestro Francesco Venier, and the attendance is constantly rising. This is justified by the Maestro’s firm belief that in order to be enjoyed, painting must be integrated in real life and must interact with it still being something alive. Then the emotional harmony that is established between the painter and his audience will be more spontaneous and less influenced by cultural interferences, which often have a negative impact. The Maestro takes his inspiration from the water, and everything that lives in it. Mr Venier’s painting is positive, colourful, dreamy and harmonic, stylized versions of the real depicted as peaceful heavens. His usual bright colours confirm his optimism towards life, and the neat and clear strokes are a sort of handwriting. It is like writing using symbols, showing how important it is to love and protect life, all on a universal canvass, without borders and barriers, hatred and divisions, where we are all aiming at a perfect, balanced world.
Francesco Venier
via Borgo S. Pietro, 45
30173 Favaro Veneto (VENICE) Italy
cell. 338/4791736
info@francescovenier.it
WWW.FRANCESCOVENIER.IT
- About My Art:
- MY PAINTING
One could think it is that a painter talks about his own art, not a critic, as happens most of the times.
If I do it, my dear friends, there is a reason behind it. It is that I know myself completely. I know my intimate motivation and my sources of inspiration. Please, forgive me if I sound narcissistic for this is not the intention.
My paintings are always positive, conceptual, and a representation of a constant dream. I do not represent reality, I interpret my world, a world that I aspire to, where every element harmonically interact with the other in a context that is never static, but in a steady evolution.
The humanoid subjects, the animal-like ones, and the backgrounds where they live show the never ending physical and behavioural dynamics. Although having a definite personality, each of these subjects on the canvass are still consciously part of a same living organism, which is the supreme goal of their existence. A corporeal organism, sometimes ethereal and even spiritual, an organism called LIFE, a marvellous anomaly of this universe, otherwise cold, schematic and aseptic. The main source of inspiration for me is life in its everlasting evolution, and its elements such as water. For me, water is to be considered as amniotic liquid, a source of life dating back to the creation of the world. Everything originates from it, and everything would die without it. The fishes, often portrayed in my works, are not just part of the painting, they are our ancestors, our friends, and our companions in the journey of life.
The humanoid subjects are never complete. They are always influenced by animal features, in a constant development of their bodies. They tell us how life as a whole is never static or inalterable, but it changes and develops all the time, following rules that only seem chaotic, but are not. Everything has a reason to be, and each change is aimed at adapting the living organisms to the ever-changing environment, improving every part of their bodies, and at positively perfect the psychological aspect.
I believe life, although cruel, is always a source of happiness. It is an unrepeatable chance that should not be wasted.
In all of my paintings you can see some idyllic worlds, like dreams of peace and equilibrium we have to aim at, universes to be created and reached. In particular the ability of flying has to be regarded as corporeal exaltation, physical rarefaction that frees the soul from any material limitation.
In my works colour is very important. My vision of the present is colourful. I sometimes use bright colours and sometimes light as a proof of my optimism and faith in the possible improvement of every single thing as well as my faith in the positivism of the human soul. The interaction of colours in my works has a vibrant effect on myself, like music. As it happens with music, who observes the painting will react instinctively, not framed in a specific context. Lines are pure and clear, no graphical hesitations are on my canvasses. This is in line with my need for intellectual clarity and a rational thinking based on respect of priorities and the logical relationship between cause and effect. Therefore, chaos, uncertainty and mistrust in the future do not represent myself at all, even though I am well aware of the difficulties and obstacles to overcome and the recurrence of historical patterns. In my opinion, what is important is to always be aiming at an improvement, both spiritual and practical. All of my works have been painted using English synthetic enamels, thin brushes number one or two, and of course all is made by my own hands.
I usually display them in the most prominent Italian hotels, such as the Cipriani and Europa e Regina hotels in Venice, the Excelsior and Relais Certosa hotels in Florence, the Due Torri Baglioni and Leon D’Oro otels in Verona, the Grand Hotel in Trento, the Continental hotel in Siena and the Tower Hotel in Bologna. I tend to display my works in these places because I am convinced that if people enjoy art outside its typical environment, they will communicate with the painter in a much freer and instinctive way, without any sort of intellectual hindrance.
Painting for me is a visual communication. It is an international language without the need of any third parties, and therefore when communication starts, then an intimate dialogue is born. It is a blending of souls.
Francesco Venier
- Website:
- http://www.francescovenier.it
“How do you paint Mr Venier?”
“How do you paint Mr Venier?” This is one of the questions people often ask me.
All I use to paint is English synthetic enamels, 80 different colours ready to use (some shiny, some dull) which I mix to create other new colours while I paint. My enamels can be used on the canvas as they come in little jars or they can be painted and then dried by means of a source of heat. I paint on canvas glued onto a 5 millimetre thick wooden plank. The biggest size of these canvases is 40 centimetre high and 50 centimetre long. I use more canvases one next to the other for bigger paintings. Very thin brushes are essential for my freehand drawing . Given the different reactions of enamels once they have been painted (some stay well inside the lines, others need a second coat as they consist of more liquid, etc.), I have to, and I choose to, paint on a horizontal desk. I also use a strong, direct source of lighting. In fact, artificial light is the main source of light for my work. I always stand when I am painting. My painting is slow. It takes a lot of time, patience, and daily training of my hand (at least 5 or 6 hours a day). For me to paint one of my 40 x 50 centimetre canvases, it takes approximately 120 up to 150 hours of hard work for planning, drawing and painting. This possibly explains why I feel so attached to my paintings, and why it is so sad for me to be separated from them!
All I use to paint is English synthetic enamels, 80 different colours ready to use (some shiny, some dull) which I mix to create other new colours while I paint. My enamels can be used on the canvas as they come in little jars or they can be painted and then dried by means of a source of heat. I paint on canvas glued onto a 5 millimetre thick wooden plank. The biggest size of these canvases is 40 centimetre high and 50 centimetre long. I use more canvases one next to the other for bigger paintings. Very thin brushes are essential for my freehand drawing . Given the different reactions of enamels once they have been painted (some stay well inside the lines, others need a second coat as they consist of more liquid, etc.), I have to, and I choose to, paint on a horizontal desk. I also use a strong, direct source of lighting. In fact, artificial light is the main source of light for my work. I always stand when I am painting. My painting is slow. It takes a lot of time, patience, and daily training of my hand (at least 5 or 6 hours a day). For me to paint one of my 40 x 50 centimetre canvases, it takes approximately 120 up to 150 hours of hard work for planning, drawing and painting. This possibly explains why I feel so attached to my paintings, and why it is so sad for me to be separated from them!
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Greetings Francesco Venier,
It is truly my pleasure having you and your marvelous display of art.
Sincerely,
Max Millionz
Dive in and enjoy.
And don't let anything stop you expressing your art.