Louis Lomanto
Milanese painter
Students Atelier
Over the years, many former students of Ursuline Art School, and others attended the studio of Louis Lomanto, capturing the spirit, dedication to work, love of painting and great sensitivity. Among these, five painters wanted in particular to pursue his ideas and his style, developing them in a personal way, without ever leaving the person most beloved by Louis, the portrait from life. Francesca Bruni , Pea Trolli, Renata Ferrari, Emanuela Volpe and Rita Carey Feri, having spent several years in the Atelier Lomanto have decided to create the artistic group Artemisia . Among the many students of the Atelier we also find:
- Massimo Lomasto
- Silvia Pisani
- Viola Serena
- Lomeihing
http://www.luigilomanto. com /
was born in Milan in 1924 by parents of the rural south, moved with their families in northern Italy for various reasons, sources that the artist never denied but Indeed, on several occasions defended and vindicated with passion and conviction.
reasons of expediency, quotas dictated by economic difficulties, leads the family to address the eldest son to study short and practical, unfortunately foreign and far removed from its true nature, without any regard for her even clear tendency towards 'activities artistic and creative.
His passion for painting, however, was how to re-emerge and assert itself almost arrogantly around twenty years of age, after the tragic experience of the last war at the front first and then lived in the mountains of Bergamo with the partisans .
His early work, a self-taught, date back to 1948 and strongly influenced by long stay in the mountains, with the partisans, almost physical contact with the earth, animals, trees, sunrises and sunsets, as well as some of his adventurous and perilous experiences as a prospector in Val Gandino in Bergamo. He writes in an essay: "Creativity or self-expression is the most basic human need as soon exceeded the basic needs of physical life. "
In his perfectionism, anxiety, exacerbated by an innate tendency to self, but also the firm conviction that the research work, taken individually would entail a disproportionate amount of energy compared with partial and unsatisfactory results, decides on the 50 years to attend the schools of painting of Prof. Augusto Colombo and the painter-restorer James Ciceri and then meet privately to the artistic maturity in Brera.
Acquired the qualification to the drawn figure, he teaches with great professionalism and dedication for over twenty years, from 1966 to 1988, at the Art School of the Ursulines of Milan, transmitting to his students, with the fruits of his experience and his tireless research work, l ' enthusiasm and love for art in all its varied expressions and culture in general. "The teaching, he writes, is an aspect of communication, it is indeed the look organized and knowledgeable."
His lectures had become a sort of cultural moment exciting and involving discussions about art were in fact a pretext to turn the debate on the issues as diverse as religion, philosophy, science, music, literature. An extraordinary opportunity for enrichment and personal growth.
The acquisition of a solid job and achieved absolute mastery of painting techniques and graphics allow the poetic world, over many years of hard work, to express themselves in more depth with a more refined language, Read and complex. The mature works are characterized by the fact expressive force, the safe design, the solidity of the intense and original exploration of color and light, the multiplicity of issues, but also, and this is the element unifying power of his artistic production, the lyrical atmosphere that surrounds them. Expression of a poetic vision and quasi-religious life in all its manifestations.
His relentless work of exploration of color and language and the changing interests over time not only led him to devote more space and attention to landscape compared to the figure of the first period of creative activity, but to leave the warm, soft and velvety at the beginning and to use pure color, to enhance the brightness and to achieve maximum freedom of expression and language in the balance between expressionism and abstract as can be seen by many faces male and female of the last period and in particular by the "sea" faced with a freedom and exuberance of colors that accentuate dramatically unusual and overwhelming violence el'impetuosità of their waters.
For many reasons that you can not list here sets up a few shows.
remember only his firm refusal to bow to the laws of the market now, as part of a general crisis of culture, more sensitive to the quirks and eccentricities that close against a painting like that of Lomanto that, although modernity and originality in its shows to keep a relationship dialectic of continuity with the past and did not want to stop at all. The artist defines so sharp and vivid the new rulers of the market "inventors of all external formulas of originality that they rely heavily on such a sensory shock."
to the next, this modest and decent artist Antep always bravely and almost stoically, in a sort of conscious self-harm, solitary and silent work, study, research and teaching. "Man, to be such, must be the focus of their experiences, have time to objectify and to find the links in the recollection of his own interiority. And this happens best in silence and recollection. "
Loneliness, however, as was rightly pointed out, lots of relationships and comparisons, as a teacher with students and as an intellectual with friends.
During his long artistic career had the opportunity to experience the sculpture made of poor materials, waste (scraps of cloth and rags soaked in glue and molded on a skeleton of wire), works created by case primarily educational purposes, and to devote much of his time at work about eight hundred documented by graphic drawings made with various techniques.
Dies Suddenly, in full employment, and creative teaching in May 1997 with the concern that the bitter fruit of many years of passionate and experienced labor can go missing or fall into oblivion (a collection of about eight hundred oil paintings, of many drawings and about fifty small sculptures).
(The quotes are taken from the sentences quoted essay on the artist "Crisis of education in art institutes in the context of the crisis and the School of Culture, 1976).
Students Atelier
Over the years, many former students of Ursuline Art School, and others attended the studio of Louis Lomanto, capturing the spirit, dedication to work, love of painting and great sensitivity. Among these, five painters wanted in particular to pursue his ideas and his style, developing them in a personal way, without ever leaving the person most beloved by Louis, the portrait from life. Francesca Bruni , Pea Trolli, Renata Ferrari, Emanuela Volpe and Rita Carey Feri, having spent several years in the Atelier Lomanto have decided to create the artistic group Artemisia . Among the many students of the Atelier we also find:
- Massimo Lomasto
- Silvia Pisani
- Viola Serena
- Lomeihing
http://www.luigilomanto. com /
was born in Milan in 1924 by parents of the rural south, moved with their families in northern Italy for various reasons, sources that the artist never denied but Indeed, on several occasions defended and vindicated with passion and conviction. reasons of expediency, quotas dictated by economic difficulties, leads the family to address the eldest son to study short and practical, unfortunately foreign and far removed from its true nature, without any regard for her even clear tendency towards 'activities artistic and creative.
His passion for painting, however, was how to re-emerge and assert itself almost arrogantly around twenty years of age, after the tragic experience of the last war at the front first and then lived in the mountains of Bergamo with the partisans .
His early work, a self-taught, date back to 1948 and strongly influenced by long stay in the mountains, with the partisans, almost physical contact with the earth, animals, trees, sunrises and sunsets, as well as some of his adventurous and perilous experiences as a prospector in Val Gandino in Bergamo. He writes in an essay: "Creativity or self-expression is the most basic human need as soon exceeded the basic needs of physical life. "
In his perfectionism, anxiety, exacerbated by an innate tendency to self, but also the firm conviction that the research work, taken individually would entail a disproportionate amount of energy compared with partial and unsatisfactory results, decides on the 50 years to attend the schools of painting of Prof. Augusto Colombo and the painter-restorer James Ciceri and then meet privately to the artistic maturity in Brera.
Acquired the qualification to the drawn figure, he teaches with great professionalism and dedication for over twenty years, from 1966 to 1988, at the Art School of the Ursulines of Milan, transmitting to his students, with the fruits of his experience and his tireless research work, l ' enthusiasm and love for art in all its varied expressions and culture in general. "The teaching, he writes, is an aspect of communication, it is indeed the look organized and knowledgeable."
His lectures had become a sort of cultural moment exciting and involving discussions about art were in fact a pretext to turn the debate on the issues as diverse as religion, philosophy, science, music, literature. An extraordinary opportunity for enrichment and personal growth.
The acquisition of a solid job and achieved absolute mastery of painting techniques and graphics allow the poetic world, over many years of hard work, to express themselves in more depth with a more refined language, Read and complex. The mature works are characterized by the fact expressive force, the safe design, the solidity of the intense and original exploration of color and light, the multiplicity of issues, but also, and this is the element unifying power of his artistic production, the lyrical atmosphere that surrounds them. Expression of a poetic vision and quasi-religious life in all its manifestations.
His relentless work of exploration of color and language and the changing interests over time not only led him to devote more space and attention to landscape compared to the figure of the first period of creative activity, but to leave the warm, soft and velvety at the beginning and to use pure color, to enhance the brightness and to achieve maximum freedom of expression and language in the balance between expressionism and abstract as can be seen by many faces male and female of the last period and in particular by the "sea" faced with a freedom and exuberance of colors that accentuate dramatically unusual and overwhelming violence el'impetuosità of their waters.
For many reasons that you can not list here sets up a few shows.
remember only his firm refusal to bow to the laws of the market now, as part of a general crisis of culture, more sensitive to the quirks and eccentricities that close against a painting like that of Lomanto that, although modernity and originality in its shows to keep a relationship dialectic of continuity with the past and did not want to stop at all. The artist defines so sharp and vivid the new rulers of the market "inventors of all external formulas of originality that they rely heavily on such a sensory shock."
to the next, this modest and decent artist Antep always bravely and almost stoically, in a sort of conscious self-harm, solitary and silent work, study, research and teaching. "Man, to be such, must be the focus of their experiences, have time to objectify and to find the links in the recollection of his own interiority. And this happens best in silence and recollection. "
Loneliness, however, as was rightly pointed out, lots of relationships and comparisons, as a teacher with students and as an intellectual with friends.
During his long artistic career had the opportunity to experience the sculpture made of poor materials, waste (scraps of cloth and rags soaked in glue and molded on a skeleton of wire), works created by case primarily educational purposes, and to devote much of his time at work about eight hundred documented by graphic drawings made with various techniques.
Dies Suddenly, in full employment, and creative teaching in May 1997 with the concern that the bitter fruit of many years of passionate and experienced labor can go missing or fall into oblivion (a collection of about eight hundred oil paintings, of many drawings and about fifty small sculptures).
(The quotes are taken from the sentences quoted essay on the artist "Crisis of education in art institutes in the context of the crisis and the School of Culture, 1976).
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