Art Investment. Fine Art Investments displays a stunning Collection of the most beautiful Masterpiece artworks by Enrico Garff the Gripenberg Art Collection Owns.
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What distinguishes Enrico Garff’s Art?
The Painter’s Brush,
A medium to connect you
with superior realms.
I often wondered for a while what the culprit and hallmark of Maestro’s art distinguishing his artworks from many others.
Garff’s paintings show off a particular element that makes you feel comfortable and familiar with the portrayed subject. I could feel but not identify the very nature of this feature that invites your soul to join with ease into the scene of the artistic creation, making you feel at home and one with it.
Today this perception started to take shape and translated from visual expression into verbal language: Enrico Garff’s art substance is organic and harmonious, the opposite of inorganic artificially construed like a random jigsaw puzzle. Light, shape, and color merged in a natural and spontaneous form only a frank, honest, wholesome spirit can express on canvas. The integrity of the painting mirrors the inner world of the Artist characterized by moral integrity. The lower human status chaos of entropy versus the Logos driven order of the creation sourced directly from divinity.
The brush becomes a direct extension of the painter’s heart, a medium leading to superior spiritual realms.
The Maestro was born in 1939 in Rome. The Maestro Enrico Garff an Italian colorist painter of the 21st century. Garff’s works include oils, watercolours, acrylics, gouaches and paintings on silk. His favourite themes are humans, horses and mythology. His art can be found in the homes of many a lover of art and horses in Finland, in addition to some works displayed in public buildings. The artist’s largest work in oils is seven metres wide. In Hufvudstadsbladet Helena Husman gives a thorough description of this painting ‘Sons of the Sun’ which is collocated at the Kamp Social Services Centre in Helsinki. This pictorial ode to mythology and joy is painted on five canvases and was inaugurated in 2003 together with the second portrait of President Martti Ahtisaari. Opening speeches for this event were conducted by Ms Eeva Ahtisaari and by the artist’s wife, Ms Isabella Diana Gripenberg. More infos are obtainable con The Gripenberg Art Collection Website.
The Finnish writer and poet Lassi Nummi’s critique on the Contemporary Art Master Painter Enrico Garff
“The first thing that strikes one in Garff’s painting is that his images appeal directly to the senses; looking at his landscapes, a perception of moisture in the air can almost be felt on the skin. Garff prefers an intensive perspective based on color to a traditional geometrical structure. Chromatic contrasts create light and space. One can sense a tension between nature and the human figure which I dare to call “mythical”. The strong contrast between pale luminosity and heavy dark surfaces seems to spring from an unseen myth and human destiny dimension. The contrasts created among the elements, air, water, and earth excite the imagination and stimulate the observer’s interest. In the foreground, Joy and Harmony predominate, but in the background gather the shadows of a tragic destiny.”
Lassi Nummi Source Wikipedia from an excerpt of Controluce
Critique concerning Garff’s figurative painting world by the Poet and actor Renzo Barbera
“In some paintings, the figures seem to belong simultaneously to two different worlds, to this familiar physical one, and ethereal upper air. Inexplicably, the spiritual dimension of this painter’s Art is constantly born from the very touch of his brush. Some of his works evoke an atmosphere that recalls Blake, while others bring to mind, Dante.”[ “It is amazing to become aware of the way the surrounding environment, once it has entered his heart and he has made it his own, changes into a creative force moving towards the sources of creation. I believe that the art of this painter is born from the contradiction and meeting of instinct and culture”
Renzino Barbera Taormina 1981 Source Wikipedia
“The World of Enrico Garff” opens a gateway to the pictorial universe of 21st-century master painters.
A supremely insightful and profoundly scrutinizing into the most profound spiritual levels of an Artist’s artistic realm interview released by the ‘So Cultures’ online cultural magazine.
My first playground mate was a tree. I grew up in a rather lonely childhood surrounded by nature in my mother’s private park, far away from all the worldly mayhem and confusion. My deep connection with nature and loneliness stimulated my fantasy to build an imaginary world. The vacuum of a human relationship filled by my growing creativity triggered me to fulfill the emptiness with colors, stories, fantasy beings, and fantasy shapes. An arid soil was my foundation for a fertile imagination where I developed my artistic perception like a “third eye” shedding light into the darkness. I started early after overcoming the age of a toddler drawing horses, pirates, Zorro, and other marvels. I grew up mainly surrounded by female figures: by the record, my mother, my cousins, and nine aunts. The general public unanimously recognized my father as possessing an extraordinary voice and mastering an incredible singing capacity, but he vanished quite suddenly from my life. His artistic sensibility is something I inherited. I can still recall waking up in the morning at the echo of his soothing and harmonious voice sounding in my mind like a warm embrace while singing a beautiful Napolitean tune named la “La Montagna” (the Mountain). However excelled in different artistic fields, and I can feel how he transmitted his musical pathos into the touch of my brush through his DNA, influencing my way of painting with the ancient Italic classical heritage still running in my veins. At a time when I still hadn’t developed much awareness of my skills and knowledge of what I was doing, the first recognition of my dawning talent came from a Lady deemed to be an art connoisseur by the pictorial circles of the time. I remember how she claimed to notice already plenty of action and dynamos embedded in my early stage drawing and painting attempts. In my nineteens, I learned to appreciate french impressionism art, rather than the renaissance masters, especially Masaccio.