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Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [21] Contemporary Artwork Critic Louis Choi's art criticism: Contemporary artist review: Contemporary Art Critic Louis Choi Chul-joo's Art criticism of Contemporary painting Artwork & Modern Artist Artwork Design criticism: Contemporary Artwork Critic Louis Choi's art criticism published on Facebook: Gaetano Bellei <Windy Day (Un déa ventoso)> = 

It seems that the imagination in which the existenGaetano Bellei ce of metaphorical imagination is represented as an image in the symbolic structure is imaginatively structured in the real image that cannot be symbolized in the symbolic order, so that the misconception of reality about perception can be shadowed in reality as an imaginary metaphor.

Gaetano Bellei (1857-1922), "Un día ventoso 

Louis Choi Chuljoo's Art criticism: It seems that the imagination in which the existenGaetano Bellei ce of metaphorical imagination is represented as an image in the symbolic structure is imaginatively structured in the real image that cannot be symbolized in the symbolic order, so that the misconception of reality about perception can be shadowed in reality as an imaginary metaphor.

"Windy Day (Un déa ventoso)“     

The backdrop is a basilica of Italian arcade architecture and a wall of a long-distance view and stairs to climb the cathedral, such as a dome with a Romanesque ceiling. These cathedrals are classical Italian mannerist compositions, drawn in mathematical proportions that began in the style of da Vinci.     

Gaetano Bellei creates a dramatic dynamic composition of two beautiful women to realistically portray "A Windy Day" in contrast to green and red in a delicate and flexible form like Giovanni Boldini.

Here, he dynamically adds the effect of the two women standing on the walls of Italian painting fixed by religious paintings subordinated to the church, in which the colorful colors that fly in the wind of the realization are smeared.

On a windy day like this, the two women are embodied as the subjects of the image. In order to match the two women in such a shape to a happy meaning, the two women are surrounded by walls in the background cathedral.

This is a realistic image, and in order to make the overall shape follow the temporality, he tries to fit the image of two women in the temporality by putting leaves that match the shape of the stationary space.

Therefore, he blows the wind into the space and transfers the shape in a formative sense to the shadow image created by the wind.     

In this way, he identifies the two women from an unknown background with the leaves flying in the wind, giving them a happy image. This is the religious background of Italy and the actual phenomenon of the two women, which expresses the Italian woman as an invisible image of reality in the imagination.     

The paintings of the two women as metaphors of reality seen in the imagination were social constraints that could be accepted as paintings from the category of imitation to modern times in religious customs. 

Therefore, the figurative reality of the two women is concealed and symbolized as an illusion based on a mythical story. In other words, a painting of a woman who is socially forbidden in imagination has an Italian religious symbolic meaning but shows the effect of wind as a morphological reality image.

The difference between art and non-art, which is a social taboo, is an aesthetic value that reveals the desires of others according to their religion and non-existence. This is a transition from contemporary time to a meaningful existence structure as a real being called an image of a shape depending on time.     

The Italian painting "A Windy Day" is a real image of two women according to temporality. It structures the femininity of realistic feminism by linearly cross-sectionalizing the Italian romantic style as a leaf against a religious background.

He builds two women with original aesthetic mannerisms in a Baroque style, which opposes the perspective ideals of Renaissance painting, as real models. In other words, he blows air towards the two women in classical costumes to fix them with naturalistic decorations made up of irregular leaves.

And as the effect of color phenomena reflected in the sun's light, which shows the effects of bright colored rays of green and red, decorative classicality results in another real phenomenal image as the desire of the other.

Here, reality as a phenomenal image fixes the images of the two women as metaphors of reality as the meaning of virtual symbols.     

So he brings the leaves into the space with the natural wind and places the shades of the color broken by the light in the space.     

The painting stops as the meaningless walls close to the steps to the cathedral are captured in the happy images of the two women as the desires of others.

In the still image, light is placed on the faces of the two women, making the dynamic wind that replaces temporality appear as the happiness of the other.

In addition, by drawing out the colorant effect created on the wrinkles of the hem of the two women's hands, it shows that the wind is blowing hard and the desire of the other facing the wind is interpreted in two ways to achieve real aesthetic value.

Like Giovanni Boldini's Portrait of Madame de Mme Chales Max, the two women's faces, he embodies the form of Italian modern painting, which fixes the dynamic hem and the expression‎ of the face that is being moved by the hand with a colorful chroma in a dynamic moment.

As the two women are metaphorical, a wind as a virtual image that reproduces reality emerges, and the existence of reality directs happiness to the two women.      

It seems that the imagination in which the existence of metaphorical imagination is represented as an image in the symbolic structure is imaginatively structured in the real image that cannot be symbolized in the symbolic order, so that the misconception of reality about perception can be shadowed in reality as an imaginary metaphor./ Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

Art critic Choi Chul-joo