VINCENZO BALSAMO, A HAPPY RETURN

In the 1970 Vincenzo Balsamo exposes to Turin, landscapes and dead natures characterized from a intense use of the color stretch out on forms that as they are been translating in abstraction: the beautiful Campagna di Fiuggi proposes a hill ploughed from lines of color from the alternate course, "play distillate and dramatic of the light and of the shade" like the critic of the exhibition organized by Viotti gallery. (1)
Vincenzo Balsamo begins to paint in the 1954 for therefore operate in a small atelier of Via Margutta to Rome, for which he comes to contact with the masters of the Roman School; any year later we see the artist hocked in the field of the scenography for the preparation of the Cleopatra work. A presence still to Zurigo, then the turn in the field of the art, determined in good person part, from his stays in France where comes to contact with César and Hartung, authors that point out with the own works the way of the image resolution and the fragmentation of the figure.
From that moment - with rare exceptions like happens in the 1999 when he sets in a work, intentionally Without title, an archaic female profile - the interests of Vincenzo Balsamo, the his poetic, they are orientated toward works in which the visitor can "read what more attracts to him".
But the theme of the landscape lodges in the mind of the painter still, for which between the works currently exposed to Turin they appear Amalfi, Dal Gianicolo until to the interesting painted Presenza marina descent chromatically on a backdrop where the blue color become cobalt blue, where the "presences" they engage variegated forms in manner of feeling.
Amalfi wave for an ideal urban web unlimited in the sea that comes "sounding, sectioned, faced in the endless facets through a swarming of signs" like Giovanni Granzotto annotated in the grandiose, careful monograph again of printing cool.
The ART-MUSIC relationship has fascinated the artists of the 20th century; Arnold Schonberg is having appreciated from Kandinskij, in the 1928 Oskar Schlemmer project the own distempers in tuning with the music of LesNoces ( "Fable colors for Stravinski," G. Pestelli), Max Neuhaus in Rivoli transforms the art in sonorous installation.
An interesting series of Balsamo's paintings draws sprouts from the conflicting sonorous weavings of big artists what Wagner, from the musical strokes of a Ouverture, whose sound explodes to the center of the cloth for shatter to the borders; also the sea has an own music, for which bears the painting, Ascoltando il mare animate from minuscules stains of color that shatter in image. It is the picassiana voice that wants to transform a stain of yellow color in sun, and not vice versa.
The chromatic range individualized from Vincenzo Balsamo often extends to fall through in the blue color: the musical texts of Wagner suggest a chromatic inversion instead, so the rose- yellow, the oranges outlined of white, sky blue, they become animated in a fate of neodivisionism that draws the own roots from the Seventy years when the author - abandoned the combustion oil of tragedian matter made - he approach to Action painting composed of endless networks to symbolize the latent moral crisis of the humanity. Often the art gives life to the shades: here then Un ricordo, work not forgetful of the landscape, it am also translated in feeling, in which the forms exaggerate emergents toward the light or Interiorità (2000) highest in the ring of the brillant green.
In year 2000 Vincenzo Balsamo returns to assign a title for each his work: positive operation that mostly approaches the public to the author that he entrust to the art of the paint the own Liberi pensieri, the desire of Guardare oltre il confine in the search of internal spaces, of emotions that are make concrete in a follow of thin lines, chromatics weavings, circles and ellipsis; endless lights, and voices that are identified with the mysticism, while quiet becomes the echo of the memory.

They return to the mind then the words of Frank Elgar:

"The reality becomes an obstacle; the only reality that count, the only that it have an indisputable character of authenticity and of effectiveness is the internal reality that of the intellect, of the imagination, of the feeling". (2)

                                                                                                                 Gian Giorgio Massara


1) Cfr. C. Giacomazzi, Vincenzo Balsamo, May 1970, Camedda Ed.
2) Cfr, The modern paint, V, The abstract paint, Hazan, Paris 1965, p.8.