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Rewievs

SINTESI Beata Angela

 

 

REVIEWS FROM NEWSPAPERS, MAGAZINES AND BOOKS:

 

 

1977

Coletti, Coletti, Art news. Perugian artists awarded in Fabriano, in “La Nazione” Umbria, December 6, 1977

 

1978

  • [s.f.], Speranza e fiducia nella ceramica della mostra antologica derutese, in “La Nazione” Umbria, 18 September 1978, p.19.
    [… interpreter of the most subtle and hidden sensations, inspired by a flower, a tree, a twisted branch, above all she stands out for a very rare disposition with a remarkable technique, where a skillful hand adds softness of touch and execution …]

 

1979

  • [s.f.], Successo della Fanum Fortunae 1978, in “Il Resto del Carlino”, chronicle of Urbino and Fano, January 21, 1979, p.3.
  • [sf], 1° Concorso Nazionale Fanum Fortunae 1978 (minutes of the jury, Fano, December 28, 1978), in “Il Machiavello”, bimonthly of art and culture, Year 2, n.1, January – February 1979, p.24 .
  • [s.f.], 1° Concorso Nazionale Fanum Fortunae 1978, in “Il Machiavello”, bimonthly of art and culture, Year 2, n.2, March – April 1979, p.22.
    Pensa, Spoleto Festival, in “Umbria Amica. Le Opere e i Giorni “, independent periodical of culture, Year VI, n.4-5, 7 July 1979, p.33.
  • [s.f.], Nella città di Francesca Zeus è arrivato dal mare – 5th Edition Zeus Prize City of Rimini, in “New Meetings”, Art – Science – Literature – Actuality, Year II, n.1, September 1, 1979.

 

1980

  • [s.f.], Gran Premio Città di Pompei, in “Il Gazzettino Vesuviano”, Year X, n.1, 16 January 1980, p.4.

 

1983

  • [s.f.], Una mostra per la lotta contro i tumori,, in “La Nazione” Perugia, May 14, 1983, p.3.
  • Pensa, La Faticosa Tela, collection “Anthologies” n.39, S. Valentino Award, Terni,
    [… Her typical pattern is oblong: she has the ability to weave threads with a clear and poignant light. She manages to reach several depths, to widen and refine spaces. With her soul struck by a divine rapture, she hones the tools of her expressive language to give meaning and shape to the objects that the existential passion of history and chronicle, no longer reflected and sublimated, highlight and move her spirit. An intense, luminous fidelity to one’s nature and a continuous, torturous, exalting increase of human knowledge, accompany and realize the evolution of her subtle and transparent work …]

 

1984

  • [s.f.], Ventidue artiste espongono ai Priori, in “La Nazione” Perugia, March 5, 1984, p.9.
  • [s.f.], Ventidue pittrici, una mostra: ai Priori, già è un successo, in “La Nazione” Perugia, March 10, 1984, p.3.
  • [s.f.], Pittrici dell’Umbria – Una mostra da vedere, in “La Nazione” Perugia, March 16, 1984, p.3.
  • [s.f.], Seconda rassegna di pittrici umbre.. On display are the works of twenty-two artists. The exhibition at the Palazzo Comunale, in “La Voce” Perugia and Città della Pieve, March 18, 1984, p.8.

 

1985

  • [s.f.], Le pittrici umbre al Festival dei Due Mondi, in “La Nazione” Spoleto, June 28, 1985, p.5.
  • [s.f.],28° Festival dei Due Mondi. Terza rassegna delle pittrici umbre all’ex collegio Enpas. The stimulating language of twenty-five Umbrian artists. Quando l’arte è donna e fa rima con successo, in “Il Messaggero” Umbria, July 5, 1985, p.2.
  • Rigoni, News Ancis and Associate Fiap, in “La Pleiade”, Year 4, n.; November 11, 1985, p.2.

 

1986

  • [s.f.], Maestri contemporanei at the Art Gallery of the Historic Center of Florence, in “Accademia”, periodical of art, culture and sciences, Year 8, n.10-11-12, October – November – December 1986.
  • [s.f.], News, in “Praxis Artistica”, monthly of art, culture, current events, Anno 11th, n.116, December 1986, p.91

 

1987

  • [s.f.], Reviews and competitions – Deruta, in “Arte Italia Illustrata”, quarterly magazine of art, culture, current affairs and tourism, n.1, April – May – June 1987, p.73. p.73.

 

1991

  • Bistoni, Illustration for ecstasies, in “La Voce”, n.22, 9 June 1991, p.5.
    [We beg you to forgive us, Domenico Alfonsi if, while presenting you, we are not talking much about your book, Il Viaggio , written as a screenplay for a motion picture, which turned out to be a detailed and reliable biography of the Blessed Angela of Foligno. We nevertheless recommend it to all those who want to learn, with easy reading, the extraordinary Umbrian mysticism. Among them, Amintore Fanfani and Luciano Radi spoke of this work with unquestionable competence. Another extraordinary feature that adds intrinsic value to the volume are the illustrations by Giovanna Bruschi, from Perugia. Yes, you may say it is like a picture book! Someone “dared” to reproduce in black and white the visions, the ecstasies, the “dark nights” of the Blessed of Foligno. Someone has said of Angela that she is the “mystical par excellence” and her writings are “the great metaphysics of mysticism” …
    Even the theologian J.K. Huysmans wrote: “In front of the writings of Angela of Foligno, the writings of other mystics turn into ashes”. A few years ago we confided to a priest – someone with a profound theological competence and highly regarded for his life dedicated to spirituality and prayer – that we purchased the Works of St. John of the Cross; he startled us with this remark: “I’m scared to approach certain experiences.” We did not fully understand what he meant and we still do not understand him now. We know that from that precise moment his interlocutor also turned wary eyes on certain saints who had the privilege of experiencing shocking contacts with spiritual matters. Our beloved Umbria, populated by innumerable mystical Saints (to whom a Franciscan Center dedicated a special conference) occasionally compels us to unearth further research on their lives. We speak, for example, of Saint Veronica Giuliani, of the Blessed Colomba of Rieti, who lived in Perugia, and of the Blessed Angela of Foligno. The above mentioned quotations may explain, perhaps, the influence of certain presences. The painter Giovanna Bruschi prompted me to read Il Viaggio. She is, in fact, someone who dared to go beyond! Giovanna, married to the sculptor Pilade Trabalza, has succeeded – in our opinion – in communicating “something” by dipping the tip of her nib on black ink. She has in fact managed to do what our most spiritual friend did not dare (to penetrate the mysteries of the mystical marriage, the ecstasies and the “dark nights” of St. John of the Cross, of St. Teresa of Avila and many others). The spiritual conversion, the encounters with the Infinite, with the Ineffable, the ecstasies, the human bewilderments in front of the divine, the encounter with the ‘One’, with the Supreme Good, with the Supreme Love … all become more accessible, with her drawings depicting the shadows and the lights, the helical abysses, the concentric and overlapping circles of her paintings. Being a woman, the artist has perhaps some more affinities while approaching the very sensitive Angela. Giovanna Bruschi approached us, with some trepidation, yet she still approached us. Her fifteen compositions are not a sterile display of geometric dexterity, but represent faces and figures, shrines, tabernacles, stained glass windows, as well as liturgical vestments where everything is transfigured and transcended. Reading the story of Angela’s divine adventure or, better yet, reading her writings through the “visions” suggested by the art of Giovanna Bruschi, becomes prayer, meditation, contemplation. Once again, poetry and art generally surpass theology and psychology.
  • Farnetani, La figlia dell’estasi, in “Città di vita”, novembre – dicembre 1991, p.591.
    Francescana”, fasc. III – IV, Volume 91, July – December 1991, pp.552-553.
    [… A very unusual, interesting and beautiful aspect of this work is the inclusion of the splendid graphic illustrations by Giovanna Bruschi, who tried to capture that profoundly feminine experience, to the extent that one can capture an authentically ineffable reality that represented the loving relationship of Angela with the Mystery which is God …]
  • Farnetani, La Figlia dell’estasi, in “City of life”, November – December 1991, p.591.

 

1992

  • Frate Indovino, Il Viaggio. Esperienza Mistica di Angela da Foligno, calendar 1992.
    [The Journey of Domenico Alfonsi, originally written as a screenplay about Beata Angela, has recently been published completely revised and enriched by the wonderful images of the Perugian artist Giovanna Bruschi. It tells the journey-pilgrimage made by the Blessed Angela made, with a group of spiritual children, from Foligno to Assisi in 1291. The author summarizes all Angela’s mystical experience: the 37 years of worldly life, the conversion that took place in the Cathedral of Foligno in 1285, the penance endured while following the way of the cross, the choice to remain lay and in the world, the extraordinary visions of God in Assisi and in her home in Foligno, and finally her admirable transit in 1309. An in-depth study should be devoted to Bruschi’s images, as they feature a major expressive effort while testing the limits of all graphic possibilities trying to interpret the unspeakable. These designs also denote a deep and loving personal participation in the human and divine story of Angela da Foligno, a woman for all times.
  • Chiaretti, Il Viaggio di Angela da Foligno, in “La valle santa di Rieti”, Review of the Franciscan Sanctuaries, Year XL, No. 1, January – February 1992, p.24.
    [… we can approach this book with the desire to learn more: not only of Angela, but of the ascetic and mystical issue related to Christian spirituality, especially in times of decreasing interest in that journey into the depths of the human heart and in his secret relationship with the Almighty. It will yield no small advantage, in addition to the delight of this being a clean and pleasant writing. I cannot fail to mention also the illustrations especially prepared by Professor Giovanna Bruschi, all aimed at expressing the “inexpressible” while narrating, by virtue of an accessible symbology and a very effective chiaroscuro technique and intimate upward patterns. that inner movement of soul that is known only to God in its completeness. Text and illustrations are an attempt – I believe a successful one – to divulge inner experiences of the highest level, to disclose new cognitive horizons – those of prayer and contemplation, which go beyond the narrow limits of reason and science – and to make mystical paths accessible which we thought reserved only for exceptional individuals.
    Grieco, Un nuovo volume sulla Beata Angela, in “Osservatore Romano”, February 9, 1992, p.8.
  • [s.f.], Bisogno di trascendenza. L’esperienza mistica di Angela da Foligno, in “Segno Sette”, n.24, 23 June 1992.

 

1993

  • Zappia, M. Duranti, A.C. Ponti, Aspects of twentieth-century art. From the fifties to the present, an Illustrated history of the cities in Umbria – Perugia, curated by Raffaele Rossi, series: “Il tempo e la città”, Milan, Elio Sellino Editore, 1993, third volume, p.1020.

 

1994

  • Andreoli, Blessed Angela of Foligno, in “S. Francesco ”, illustrated monthly, n.5, May 1994, p.43

 

1995

  • Coletti, Beata Angela, studio. The path to ecstasy, in “La Nazione” Perugia, May 3, 1995, p.3.
    [Angela of Foligno is one of the most profound figures in Christian mysticism. She emancipated herself from the lowest debaucheries of sensual passions to the point of complete conversion, and into the depths of the unfathomable knowledge of mysteries, until reaching total ecstasy. Three spiritual transformations in order to attain the highest point of contemplation of the Absolute, a difficult path to face through our consciousness and sensitivity and which has now become a publication. Its author is Father Domenico Alfonsi, a conventual Franciscan, a pioneer in theological studies, a lecturer and a writer with wide-ranging views. On the subject of the Beata Angela, Father Alfonsi had already done a research that emerged in 1991, and that now, along with La Figlia dell’Estasi, have been published by Messaggero Edizioni of S. Antonio di Padova. Since then, the publications still contain to this date graphic interventions by Giovanna Bruschi, an artist who has experienced an excruciating role in this project, to the point of suggesting, through her black and white images, the painful dissolution of the soul.. Bruschi’s graphics are not sheer visual comments, but paramount interpretations as flashes of light and prayers that have become form in a text that is fundamental to reconstruct the intimate biography of a woman of the thirteenth century who knew how to elevate herself toward perfect joy. The text by Father Alfonsi is naturally complex, as can be any study lasted several years, truly lived with overwhelming efforts and brought to the fore after months…and many endless nights. The cult of Angela of Foligno, or rather the full scope and significance of her experience, took place in 1868, when Ernest Hello, translating the Latin text of her Liber, wished to expose tears more than just words. From that moment the Francophone world, followed by an explosion of interest in other countries, nurtured an interest in what was defined “the greatest Franciscan mystic, the teacher of theologians”. Father Alfonsi continued his work started four years ago: the depiction of a medieval woman who chases the vanities and pleasures of the senses and that later explores the world of the beyond and the mystery of God to the limits of human possibilities, a torturous path revealed by a very light theology, while climbing those heights where Angela took refuge in perfect joy, having discarded all the remnants of her past. The volume is rich in meditations as if performed at the altar of spirituality. The appendix reveals the Europe of thirteenth century, with parallels between figures of saints, historical information on Foligno, especially the mendicant orders, the convent of San Francesco and the house of Angela, with the birth of the Liber written by her relative, Father Arnaldo, who received her messages in dialect, and reported them in Latin. Father Arnaldo began to take notes on the pages of his breviary, but later resorted to a handmade paper in order to record everything that was told, convulsively, toward ecstasy. And this was the basis for Father Alfonsi: a commitment that was the equivalent of climbing a mountain, and resolved victoriously having managed to reach the summit. And finally, the four artistic interventions by Giovanna Bruschi that really manage to touch the abyss.]

 

1996

  • [s.f.], La figlia dell’estasi, Rilievo Bibliografico, in “Magazine of Spiritual Life”, n.50, 1996, pp.111-112.
  • [s.f.], La Postierla. Exhibition by Giovanna Bruschi, in “La Nazione” Perugia, September 27, 1996, p.4
  • Scandolini, Le Opere di Giovanna Bruschi, in “La Voce”, n.36, October 4, 1996, p.7.
  • Baragli, Bibliographic Review – Reports, in “La Civiltà Cattolica”, Anno147 – vol. IV, notebook 3511, 5 October 1996, pp. 103-104.
  • Scandolini, Art exhibitions, Giovanna Bruschi alla Postierla di Perugia, in “Spoleto ’90”, December 20, 1996, p.11.
    [Whoever succeeds in observing visual arts with their inner eyes, as it should always be the case, cannot fail to immediately notice that the works of Giovanna Bruschi (not only those inspired by the Blessed Angela of Foligno and her human and mystical vicissitudes), are obviously the result not only of an unusual, refined technique but, above all, of a magical transfiguring tension that pushes the artist to capture the elusive, to make visible the invisible, as well as narrating the arduous path from the suffering of time to the visions of memory and to the anticipation of the eternal. It is certain that two different and converging virtues assist Giovanna Bruschi: the most severe and responsible religious sentiment that connotes living and dying; a civic spirit that is never ready to be tamed in the confines of ideologies, fashions and currents. A painting style that escapes every superficial, hasty classification of convenience.
    If Ugo Foscolo wrote that «Religion always fulfills me with ideas inspired by a beautiful moonless night; and they are great sensations rather than ideas “, by the same token, I believe that Giovanna Bruschi, is always stimulated by nature and by the same impulses evoked by the Poet. while expressing her ideas, her feelings with a very personal black and white graphic design. Ultimately, the painter seems to be able to always allow the attentive observer to feel the sensations of gratitude and hope.]

 

1998

  • Campanella, Gli artisti in aiuto degli animali, in “La Nazione” Umbria, September 30, 1998, p.31.
  • Campanella, Reale parla alla Postierla. La poetessa [M.A. Bonacci Brunamonti] dell’800 vista in toni colloquiali. Exhibition by Giovanna Bruschi, in “La Nazione” Umbria, November 23, 1998, p.7.

 

1999

  • AA. Marcelli, Dalla parola all’immagine (The illustrations by Giovanna Bruschi Trabalza), in “Subasio”, Properziana Academy of Subasio, Assisi, quarterly of cultural information, Year VII, n.1-2, March 30 – June 30, 1999 , pp.33-34.
    [The conventual Franciscan Father Domenico Alfonsi (from the Covent of St. Francis in Foligno) published two essays: Il Viaggio, Esperienza Mistica di Angela da Foligno, and La Figlia dell’Estasi, Biografia Spirituale della Beata Angela da Foligno, respectively in 1991 and 1995. Although these works go back a few years ago, they both fulfilled a promise to be accompanied by graphic illustrations by Professor Giovanna Bruschi Trabalza, with the intention to again interrelate images, words and thoughts. The creative sensitivity of Professor Bruschi (currently active in Perugia) penetrated the text with a very insightful artwork, exploring the mystical depths of the Blessed Angela, a Franciscan tertiary, acclaimed as the “Teacher of theologians” in the 18th century. The artist approached the arduous task of interpreting a mystical experience through faith alone, since no rational approach cannot even reveal a glimmer between the shadows of doubt and the chiaroscuro of conscience. Art alone, just like poetry, can do this, like poetry, and the proof is the Perugian artist with her design, patterns, lines and forms; Bruschi’s graphic layout seems to rise from the spiritual foundation of the Franciscan philosophy, represented on several occasions, symbolically, by distant visions, indefinite dreams, and prayers that project themselves upwards. In Angela’s mystical “journey”, executed in Assisi, in order to find herself (and God), Giovanna Bruschi goes on to provide a visual comment on the various stages of this extraordinary woman, drawing inspiration from several texts and testimonies. The illustrations abound with flights of wings, lines that seem to embrace the viewer, clouds that thin out like mists, leaving evocative halos in the glow that reappears as a new light, at the top of hypothetical pyramids or pyramidal structures. Each chapter is introduced by different visions: rounded shapes like pages of a medieval codex, and among the scrolls we find an ancient book, perhaps The book of Angela written by brother Arnaldo, her spiritual guide and biographer; symmetrically intertwined planes with bold perspectives of diffused light, fleeting shadows and, finally, the vital energy that vanishes in space, in a movement of concentric circles, like a celestial body driven by a mysterious force.
    Turning the pages, other images seem to take on consistency from real suggestions, only to evaporate in a sort of metaphysical height, toward a distant focal point of infinity. The available space is no longer enough: the artist’s drawing leaves the surface and goes beyond the page…

    When the soul turns inward, as if entangled within a busy pattern of curved shapes, then it is impossible to identify the beginning and the end of the drawing itself. The figure of “Francesco-Alter Christus” reminds us a pivot on which rotates an imaginary sliding door: geometric lines project themselves from a starting point into the infinity of a watchful eye, in the center of the composition, representing the eye of God. A bright light seems to filter through silk cocoons wrapped as thin threads, and it is reflected around the surrounding space: this connotes the offering of love itself. The original location of the Porziuncola is transformed, as if sealed into a shape that protects it, while above, thanks to the usual play of lights and shadows, the image of the Virgin Mary emerges with Angela absorbed in a rapture. This ecstasy reminds us of a Psalm “From the depths to you I cry, Lord”, while all around the terrible dark night of the soul fades little by little into a lighter pattern of shades, toward a real – rather than imagined – dawn.
    While experiencing an ecstasy there is a strong desire for God, the ONE, that takes the form of a blinding sun in which our whole essence is dissolved, as in a solar turbulence, with evanescent, darker geometric forms. The blinding sun refers to a small consecrated Host, the focal point of a swirl of lights and architectural forms in perspective. And in the ‘last’, grandiose vision, outlined in the passage “Father, I recommend my soul and spirit into your hands”, the circularity of shapes becomes total: we are aware of the eye that sees, that knows (oráo = I see , therefore, I know), which is immersed in the immensity of the mystery of God, where the soul rejoins its Creator. The vague point of contact between the two circular masses makes one think of the creation of Adam, in which Michelangelo paints the steady finger of God toward man’s tentative, heavy, yet outstretched finger that approaches life: it is the mystery of creation, the incarnation of life and death. It seems appropriate, in order to convey the profound meaning of this artistic experience, to draw an analogy to Dante’s poetry, in particular to the Canto III of the Divine Comedy. In ‘Paradise’, in fact, the ineffability of visions is expressed in a verse of sublime poetry “the glory of Him who moves everything / for the universe penetrates and shines / in one part more and less elsewhere” (I, 1- 3), “And I saw things …” (I, 5), “Yes, as the wheel is moved, love moves the sun and the other stars” (XXXIII, 44-45). The lines drawn by the artist, combined with the circularity of the design, conveys a strong mystical suggestion; and in the wide folds of the traced surface one captures the eternal spinning motion of the heavens, as well as the harmony of Paradise. In the panels of La figlia dell’estasi, Bruschi adds a refined, warm and all-embracing serenity, for which, once again, I refer to Dante (III, 49): Piccarda Donati «I will not hide the fact that I am more beautiful”. I conclude by referring to the theologian Ranher: “the religious man of the future must be a mystic, one who has experienced an ecstasy, or he will not be religious at all”. And this is what Giovanna Bruschi has experienced, providing us images that invite us to open ourselves to beauty, to spirituality, to the mystery of God.]

 

2000

  • Zavarella, Incantate arcane presenze. Non estetismo fine a se stesso ma energia, in “Il Giornale dell’Umbria”, January 21, 2000, p.33.

 

2001

  • Dozzini, Angelus Novus – Etching by Giovanna Bruschi, in “La Voce” Umbria, n.2, January 19, 2001, p.5.
  • Scandolini, L’arte ha ottenuto pregevoli risultati con l’espressione metafisica della realtà. Angelus Novus di Giovanna Bruschi, in “Spoleto ’90”, June 15, 2001, p.46.
  • Borghi, Lo spirito dell’Angelo Nuovo, in “Il Giornale dell’Umbria”, August 5, 2001, p.35.
    [Since 1977 Giovanna Bruschi dedicates herself to the art of engraving mastering the etching technique. She lives and works in her hometown in Perugia, always deriving enjoyment and inspiration from her environment, which abounds in poetic stimulations and ancient traces of Etruscan history. Yet, Bruschi’s graphic art was not her only passion, given her tendency to wax nostalgic for the many years she dedicated to teaching, an activity undertaken in her early twenties and in which she excelled as a mentor striving to embody both the strengths and the weakness of her students, in the belief that teaching is inhabiting the mind of the disciple to encourage self-knowledge. Although lately the time she devoted to her art has grown, the principles according to which she lives are destined to remain unchanged. The artist’s intention to transform artistic moments of inspiration into intangible spaces has become a method in which the inner container of her thoughts is opened to give free rein to an uncontaminated ocean of pure abstractions: we can immediately draw a comparison with the albatross that Baudelaire described as a creature destined to discover itself bruised or asphyxiated by the contact with the ephemeral complications of everyday life, but always forced to fly with its wings flapping in a merciless struggle from which its immortal song will arise.
    Similarly, Bruschi listens to the surrounding silence to inspire in her mind echoes that remain unanswered as she approaches such sense of wonder through a solitary study that eventually projects a vision in a sort of “non-material” painting, filled with emotions and ideals that become the archetypes of human existence. Right in her beloved studio, the “laboratory” where all her works are produced, she shows us a series of etchings with a religious subject, that celebrate a mystical vein effused at once with intensity and delicacy. In the series created to illustrate two books by Padre Domenico Alfonsi, Il Viaggio and: Il Cenacolo Beata Angela da Foligno, Foligno, 1991) Bruschi’s unmistakable style fills the surfaces through overlapping patterns of curved and graceful planes with a chiaroscuro effect that defines either fullness or emptiness, absence or presence through a symbolic shading. The artist interprets Christianity with an allusive and intentional impact that can only be understood by those who came close to such experiences and values. This is how, by virtue of geometric patterns, Bruschi disclosed her very personal intuitions in space, free from traditional figurative elements, and succeeds in representing the feeling of benevolence arising from a Mater Dei perhaps in a blessing attitude, however bearing a force capable of piercing any darkness …
    Bruschi’s ability to translate ‘the invisible and the ineffable into images’, as shown in the back cover of Il Viaggio, is none other than the capacity to present a human substance accompanied by a fortunate selection of design variations while carrying out a theme. All these qualities were recently the object of new homage at the Library Hall of Palazzo della Penna in Perugia, with reference to the Fanciullaccia Scapigliata, a sketch inspired by the figure of Maria Alinda Bonacci Brunamonti. We just mentioned the artist’s love for her hometown, Perugia. A visible sign of this connection is one of her recent works, Angelus Novus, which truly deserves to be brought to the attention of the public for the heartfelt wish for a mature growth and positive evolution expressed towards the city during its entry into the new millennium. The typically windy Perugian atmosphere that wraps the passers-by in invisible whirlpools, especially in the historical downtown areas such as in Porta Sole or Via dei Priori, is the dominant note of a complex composition made clear by a balance of classical rhythms built on the symmetry of upward motions and diagonals that encompass the Perugian atmosphere, its buildings, monuments and people. The dramatic contrast in the foreground – the white Angel, turned to the right towards the future, symbolizing a benevolent Life that evolves positively, and the Past caught in its dark side and death – is resolved, in the upper part of the work, with a gradual refraction ,throughout the city, of a white light as a beacon for a beneficial renewal. Once again, Giovanna Bruschi resorts to a refined play of chiaroscuro, rendered with her indefatigable burin, providing a visual magic that alters and enriches this experience projecting these patterns into a wider horizon in scope and magnitude. As an immaculate wind that billows through the streets of Perugia, Bruschi’s art does not renounce to explore a world of values whose metaphysical elements will never cease to permeate the earth, expressed in the angel’s delicate profile with its lips slightly pursed.]
  • Raponi, Presentazione di una collettiva di grafica, in “Gli incontri della Postierla”. Ten years of activity 1992-2001, edited by A. C. Ponti, Perugia, 2002, p.79.

2001

  • Valter Corelli, Angela of Foligno – La vera povertà, in “Le Colline della Speranza” – Itinerari di santità femminile in Umbria – Printed by Edimond – Città di Castello, September 2001, p.5.
    [… A visual path of stunning intensity is offered to us by Giovanna Bruschi’s precious engravings. Bruschi, an artist from Perugia, has been very successful in rendering Angela’s inner gaze with great zeal and sensitivity, interpreting the Saint’s mystical visions by virtue of whirlwinds of light and veils of shadows which best describe the enchantment of Angela of Foligno’s experience, which, seemingly unattainable, plainly indicates today’s man a simple path to follow in order to purge the burdens of the superfluous and how to attain true self-knowledge.]

 

2002

  • Zavarella, Rita da Cascia. Tra storia e tradizione, in “Itinerari di santità femminile in Umbria” (A work published by Edimond with illustrations by Giovanna Bruschi), in “Il Giornale dell’Umbria”, May 30, 2002, p.23.
    [… The volume is embellished with color images and extraordinarily original illustrations by Giovanna Bruschi that interpret Rita’s adventure in a contemporary fashion, resorting to a refined technical expertise, an ideal religious wisdom and an exquisite feminine interpretation …]

 

2002

  • Zavarella, Rita da Cascia. Tra storia e tradizione, in “Itinerari di santità femminile in Umbria” (A work published by Edimond with illustrations by Giovanna Bruschi), in “Il Giornale dell’Umbria”, May 30, 2002, p.23.
    [… The volume is embellished with color images and extraordinarily original illustrations by Giovanna Bruschi that interpret Rita’s adventure in a contemporary fashion, resorting to a refined technical expertise, an ideal religious wisdom and an exquisite feminine interpretation …]
  • Zavarella, Bruno Dozzini: L’ultima raccolta di poesie con nota di Carlo Ponti, in “Il Giornale dell’Umbria”, July 30, 2002, p.15
    [Words in Bruno Dozzini’s poetry are confined within a space and expressed in verse. His last collection, Il Nutrimento nascosto with a foreword by Antonio Carlo Ponti, is enhanced by a refined cover by the Perugian painter Giovanna Bruschi who, with a unique pictorial style and a rare skill, has assembled and evenly distributed the peculiar aesthetic monumentality of Perugia …]
  • Zavarella, Rita da Cascia raccontata tra storia e tradizione religiosa nei testi di Vittorio Giorgetti e Omero Sabatini (The title was published in the series: “Itinerari di santità femminile in Umbria”), in “Il Giornale dell’Umbria”, October 4, 2002, p.16.
    [… The latest addition to the series is Rita da Cascia. Tra storia e tradizione, with the introduction of Valter Corelli, presentation by Father Remo Piccolomini, introduction of the authors and afterword by Father Nicola Giandomenico. The volume, which features texts by Vittorio Giorgetti and Omero Sabatini, is embellished with color photographs by Massimo Chiappini. Last but not least, what defines the true value of the elegant publication is the contextual set of illustrations by Giovanna Bruschi that thanks to her established artistic worth, experience, deep knowledge of symbolic subject matter and technical know-how, produces clear images as references to religious painting. Such images not only represent a balanced composition within an extraordinary narrative composed of divisionist volumes, but also in its essential figurative sequences, describing the true meaning of the Feminine driven by dramatic turbulence of feelings between the earth and the heavens. The earthly story of Rita is displayed with exquisite correspondence and feminine sensibility by Giovanna Bruschi . Although the artist does not alter the orthodox, historical and legendary background of the Saint from Cascia, she nevertheless fictionalizes the dismay of a bride and the suffering of a mother whose faith becomes a saving and poignant catharsis of evil in pain. A pain that Giovanna Bruschi has embodied without sparse or pathetic visual accents, but exclusively secured by the intermediation of Jesus. The artist never ignores the subject’s environment or detours from her truth but faithfully interprets (in a non-ornamental style) the landscape and the interiors – sanctified by prayer and stylized religious figures – contribute to the understanding of cloistered contemplative nuns, in spiritual and religious tension toward the Way, the Life and the absolute Truth. Without taking anything away from the splendid historical research on textual references, the surprising illustrations by Giovanna Bruschi – as expounded by Valter Corelli – represent «an autonomous visual journey, of great artistic depth … which, through her invaluable etchings, derives sensations, images, suggestions and a strongly charged spirituality inspired by the Saint’s biography ». By and large, with her artistic creations, the artist from Perugia proffers a series of enchanted atmospheres that unravel hieratic compositions lit by luminous geometries and sublimated by sacred roses and bees in total creative freedom. Giovanna Bruschi’s expressive language, sober and essential, visualizes Rita’s feelings, sensations and suggestions with a linearity of rare charm and emotional resonance, as if beyond the earth, to receive and and artistically reveal Christian hope.]

 

2004

  • Alessandra Borghi, Giovanna Bruschi, the abstract and shining soul of graphic compositions. The Perugian artist presented the work “Fregio del pensiero” – “My last artistic work represents a great challenge based on the comparison with the sacred value of poetry” – in “Tutto Perugia” – Il Personaggio – February 12, 2004, p. 15.
    [Bruschi’s last work – four drawings dating back to last year, emerged from a painstaking meditation effort, after seeking the ideal material and transferring it into controlled geometric patterns – it represents the unmistakable style of this artist from Perugia who since 1977 has not ceased to win over critics and audiences, local and otherwise, with the immaterial, spiritual and kaleidoscopic light of her graphic compositions pushed to the limits of pure abstraction. Fregio del pensiero is the title of the four drawings recently dedicated to the poet Bruno Dozzini, to illustrate some passages of his last book Intuizioni e no. Two titles that signify the sought-after merging of two directions, that of life and art, and indeed expressing a synthesis that includes the conflict of all universal artistic events: on one hand the painful struggle between what is acknowledged yet still unexpressed, and on the other, the restructuring of the chaos of contrasting forces thanks to the clear impact of thought. In Fregio del pensiero – defined by the artist as “a great challenge based on the comparison with the sacred value of poetry” – was exhibited in public on October 29 at the monumental complex of Santa Giuliana, on the occasion of the presentation of the catalog Giovanna Bruschi. Graphic work from 1977 to 2003 (Guerra Edizioni, Perugia, 2003), which collects the tiles making up a sort of fresco of her long activity: unique etchings – the result of a very rare technique –as well as pencil, ink and pastel drawings, all gems of technical perfection, which, without the complete control of drawing, cannot be mastered since the line is the ethereal standard of Bruschi’s inventions: ” The weightless element that follows the idea up to its visual synthesis “, a concept that is mindful of the great, unforgettable lessons of masters like Gerardo Dottori, Diego Donati, Adelmo Maribelli and Dante Filippucci, as if reaching out to the threshold of the Beyond. Hence the imprint of a transcendent dimension that finds in Bruschi’s art the perfect medium at ease with the mystical figures of the great Umbrian religious tradition. The legendary stories of Angela da Foligno and Rita da Cascia have been stylized into a graphic version characterized by an original look that identifies sublime expressions even in the most popular forms, as well as by depicting them through the revelation of a soul that marvels moment by moment the personal, inseparable bond with the Absolute. What is immediately perceived in the presence of this woman of enchanted beauty, discreet but spirited speeches, is a fervent intellectual energy of an inner smile, which widens secretly to all creation, as in “Girasoli” (1977), “Bocche di lupo” (1978) or “Anturium” (1980), in the center of a “Vortice” (1979) or in one of the four elements (“Sister Water “1981), a kind of resonance, interwoven with sympathy, warmth, sincerity, which allows us to say:” This world is pregnant with God “(1990). And given that the world has for Bruschi much to do with her art, including the years that she dedicated to teaching in high schools, is not surprising that she has not stopped associating her art with love, the first form in which the positive and eternal soul hidden in things becomes perceptible. To realize how Giovanna Bruschi knows how to give weight to the things that matter to her, one needs just to peek into her personal life: a family composed of two proud artists and two daughters who are themselves gifted, often surrounded by other personalities and friends cultivated by harmony – the antidote to ugliness – particularly when it came to creating her catalog, breaking barriers with her traditional privacy.]

 

2006

  • Giovanni Zavarella, Giovanna Bruschi e le porte di Assisi, in “Umbria Settegiorni” – n.9 – Year XI – March 10, 2006, p.17.
    [The Perugian artist has created a folder with four splendid etchings.]
    Assisi is the quintessential medieval city. It is one of the country’s urban, architectural and pictorial wonders. Its fortresses, walls and gates arouse an irresistible charm in the visitors, pilgrims and artists who travel to this the Jerusalem of the West. And time and again, the doors of the Seraphic City which gave birth to Francesco and Chiara, were the object of the artistic wisdom of Giovanna Bruschi. The Perugian artist, accredited with prestigious national and foreign recognitions, has created, with the coveted patronage of the Properziana Academy of Subasio of Assisi, a folder with four splendid etchings. These works are enhanced with a historical record of Dr. Pio De Giuli, director of the magazine ‘Il Subasio’ and with the poems of the greatest living Umbrian poet: Bruno Dozzini. With consummate technical skills and undisputed artistry, the four etchings illustrate the “Porta Mojano”, the “Porta San Giacomo”, the “Porta Perlici”, and “Porta Cappuccini”. Thanks to rigorous academic studies, and especially thanks to the lessons of master engraver Diego Donati, Giovanna Bruschi, has delivered a particularly important historical and aesthetic outcome which has met the sincere praise and unconditional admiration not only of the President of the Academy Prof. Giorgio Bonamente and his board, but also of all the admirers of the art of engraving. Although the artist remains faithful to a figurative style, it nevertheless glorifies architectural elements within an enchanted spiritual and magical atmosphere. The values of those images that are evading the compositional patterns and color backgrounds, evoke ancient suggestions and strong emotions that do not disdain religious symbols and emblems. With a heightened sense of perception and poised projectuality, Bruschi assembles around the central theme of ‘Porte’, such an original and aesthetic solution with monumental references that reminds us Dante’s description of Assisi in Paradise, Canto XI: ‘chi d’esso loco fa parola, non dica Ascesi, che direbbe corto, ma Oriente, se proprio dir vole’.]
  • Giovanni Zavarella, Assisi e le sue porte – “Siti Unesco”, April – June 2006 – second year – number two, pp.78-79.
    [… The city’s gates have recently attracted the attention of artist Giovanna Bruschi who has interpreted the monumental, architectural, historical and environmental values with a modern charm and technique. The precious artistic performance was enriched by historical notations by Dr. Pio De Giuli and by the verses of the great Perugian poet Bruno Dozzini …]

 

2007

  • Alessandra Borghi, Tutto Perugia- Year V Number171, May 24, 2007, p.9
    The Award in the Hall of the Consiglio Provinciale, Il Corimbo Association
    Giovanna Bruschi, Queen of Culture 2007
    For once the cultural elite pays tribute to a woman as one of its modern-day muses, thus celebrating a wide spectrum of feminine values. It happened on May 12, in the hall of the Consiglio Provinciale, a perfect environment to welcome the Perugian artist, “Miss Acquaforte” Giovanna Bruschi, given the fascinating presence of the artwork signed by Domenico Bruschi, which coincidentally features female figures as its main subject matter. The association Il Corimbo – on the occasion of its sixth edition of the award already given to Dozzini, Giovagnoni, Norberto, Raponi and Venanti – crowns Bruschi as the queen of culture with a soothing background supplied by the violinist Licia Di Domenico. The event excelled all expectations beyond the official ceremonies, providing warm exchanges between speakers and bystanders (including many of her former students and colleagues fascinated with the talented art history teacher) once again honoring not only “one of the greatest contemporary graphic designers” but also – quoting the words of Angelo Veneziani, president of the Association Il Corimbo – “a woman whose character “has become a role model for the values she embodies with her human solidarity and artistic passion”. The president has also stressed that the basic components of the award have always been an “all-around evaluation” of the candidate.
    And in the case of Bruschi, “a reserved artist, never obsessed with the limelight that she rightly deserves”, she could not fail to be prominent “in an era in which activism, protagonism, globalization and unethical commercialization seem to be dominant”. And it was enough to capture the modesty of a woman whose solitary intellectual research has never taken her away from the vocation of being also a wife and a mother, this being an impeccable mindset, as well as an index of security and refinement that was never ostentatious. An image in itself well-rounded and benevolent, with so much beauty reflected from within, without effort, in the features of her face. Giorgio Bonamente, dean of the faculty of letters who spoke as president of the Properziana Academy of Subasio, of which Bruschi is a member, gave credit to the young but already strategic association of the Corimbo for “the ability to stimulate, alongside the cultural component, relations of mutual esteem, guarantors of efficiency and vitality “. Bonamente also thanked the artist also for her collaboration with the Academy’s quarterly magazine, whose covers have been illustrated with her drawings for some time. Those on the doors of Assisi (which should also stimulate Perugia to repeat the experiment) have already produced an enthusiastic reception, where full respect for architectural values translates into “transfigured visions”. The ability to go beyond the visible sign, to reproduce it both in the most naturalistic and abstract compositions, while conferring to the immaterial light inner meanings, is the most authentic quality of Bruschi’s graphic art. This is how Zavarella presents the artist, also recalling the numerous awards obtained by Bruschi and her attractive catalog, “a work in itself”, which gathers the production from 1977 to 2003: “The first material is always the moral strength, the will to respond to inner needs, without being carried away by ease of execution. Bruschi’s, overall solid compositions, spatial depth and compelling solutions are elements that never betray poetry “. At the base of a feminine imagery of rare beauty, the discovery of love as the basis of art and life, the conception of nature as the reflection of the divine, the inclination to a spirituality “that rouses the intimate heart and almost prostrate us “, to quote the poet Bruno Dozzini. All these are trends particularly developed since the 1990s, thanks to lucky but not accidental encounters, according to the artist’s vision. Like the one with Father Domenico Alfonsi, director of the “Cenacolo Beata Angela of Foligno”, from which were born the illustrations of five religious texts. The challenge to explore and give shape to mysticism, also in the case of Santa Rita da Cascia, was “a transforming experience,” said Bruschi, the same that she employed to stimulated all her viewers to feel curiosity, the real key to penetrate a way of life and art: the search for a transcendent horizon in which humanity’s adventures and misadventures, with faith, can be resolved in peace and harmony.
  • Giovanni Zavarella, Assisi e le sue Porte “Siti – Unesco”, April – June 2006 – second year – number two, pp.78-79.
    [… The city gates have recently attracted the attention of the artist Giovanna Bruschi who has interpreted their monumental, architectural, historical and environmental values in a modern and undoubtedly fascinating way. The precious artistic rendition was enriched by historical notations by Dr. Pio De Giuli and by the verses of the great Perugian poet Bruno Dozzini .
  • Giovanni Zavarella, Settegiorni Umbria, n. 20 Year XII, 1 June 2007, p.3
    Recognition for decades of teaching and artistic results
  • Giovanna Bruschi Culture Award
    In the hall of Sala del Consiglio of the Province of Perugia, packed with journalists, painters, poets, writers, musicians, art critics, as well as many art lovers (as it often happens during cultural events), the artist Giovanna Bruschi was the recipient of the Culture Award. The Commission of the Association of ‘Il Corimbo’ from Perugia has awarded the painter with the recognition not only for the loyal commitment during many decades of serious and rigorous teaching at the service of the new generations, but also and above all for having produced so many extraordinary artistic results. Bruschi’s works have been exhibited in various Italian galleries and have attracted the attention of more than fifty art critics. Not infrequently these panels won various competitions and earned dozens of prizes, as a validation for the quality of the results which are almost always full of intrinsic values. Particularly, spiritual-religious values, associated with exceptional figures such as Angela da Foligno and Rita da Cascia. Moreover, the poetic transfiguration (made with incisions, pastels, drawings, oils and punctuated by an exquisite feminine sensibility and an eclectic intellectual knowledge), evokes the sensation of a dynamic, sober floral effusions, as well as enchanted female figures. Last but not least, we are aware of intriguing architectural solutions that evoke ancient civilizations and classical images both of warriors and women reciting prayers, all enclosed within a space composed of rare formal solutions and a sense of concealed yet heartfelt symbolic freedom. The multiform creations that are perceived in a sort of continuous narration in the splendid catalog entitled ‘Giovanna Bruschi, graphic works 1977-2003’, printed by Guerra Edizioni, inspire intellectual reflections, which, in the words of the artist herself, define the publication “as a narration rather than a compendium, that best exemplifies a work that I have always carried out with passion and spirit of research.” And it is indeed this spirit of research that the artist has always complemented with an immediacy of expression and a sense of urgency while divulging the intrinsic values in her messages. Buschi’s oeuvre is never restricted by deceptive contemporary trends that promote an adulterated abstract past and a saturated realism. Owing to her achievements, she was included in the Archive for the Italian Art of the Twentieth Century in the prestigious Kunsthistorisches Institut of Florence, and in 2003, and received the title of Academic of Merit by the Academy of Fine Arts “Pietro Vannucci” in Perugia. Recently, Bruschi was commissioned by the Municipality of Perugia to create a painting depicting a mayor of the city. The ceremony was introduced by the distinguished President of Corimbo, Prof. Angelo Veneziani, and featured a background of classic music performed by the violinist Licia Di Domenico. Prof. Giorgio Bonamente, Dean of the Faculty of Letters and Philosophy of the University of Perugia and President of the centuries-old Properziana Academy of Subasio of Assisi, added an invaluable critical assessment that praised the artist not only for what she had achieved in the promotion of figurative arts in Umbria, but also for the precious collaboration she generously offered to the quarterly magazine ‘Subasio’, the official publication of the prestigious cultural association, directed by the enthusiastic Dr. Pio De Giuli. Then it was my turn, when I briefly retraced Bruschi’s life and profession, the several exhibitions, the critical essays and all the awards that highlighted all her artistic activity. And besides the mentions of masters such as Gerardo Dottori and Diego Donati, I have stressed the generosity that animates Giovanna Bruschi, and therefore mentioned the triptych found in the ‘P. Rossetti ’ museum, of the Domus Pacis in Santa Maria degli Angeli, where she has visually contextualized Bruno Dozzini’s poems with a perfect pictorial project including the critical quotations by Letizia Giontella. At the end of the ceremony Giovanna Bruschi thanked everyone with poignant words.
  • The Editor, Il Rubino – Year XX- N 5 – 31 May 2007, p.3
    Prestigious Culture Award to Giovanna Bruschi
    The prestigious Cultural Association “Il Corimbo”, chaired by prof. Angelo Veneziani, in line with a beautiful tradition, has awarded the Umbrian artist Giovanna Bruschi the Premio alla Cultura, 2007 edition. The recognition that comes from Bruno Dozzini, Artemio Giovagnoni, Proietti Norberto, Umberto Raponi, Franco Venanti, was delivered on day May 12, 2007, at the Sala del Consiglio0 of the Province of Perugia, crowded by attendees from every walk of life: poets, writers, painters, sculptors, journalists and art critics, as well as local broadcasters. To signify the importance of the award, in addition to the relevant introductory words of prof. Angelo Veneziani, there were critical expositions by the distinct Professor Giorgio Bonamente, Dean of the Faculty of Letters and Philosophy, President of the Properziana Academy of Subasio in Assisi, and of by Professor Giovanni Zavarella.
    Over the years, the award-winning artist is dear to Assisi at least for two reasons: the first is her role as illustrator for the cover of the quarterly magazine ‘Subasio’, the official organ of the centuries-old Academy of Assisi. Bruschi’s refined skill, her rapid executions and a modern compositional installation, has already depicted not only the gates that lead into the city, but also the splendid fountains that embellish the seraphic squares. Moreover, She has also collected in a folder the engravings of the four gates and generously handed them over to the members of the Academy and to the Municipality of Assisi to be donated for official occasions.
    The second motivation that makes Giovanna Bruschi special is the donation of her splendid triptych to the “P. Felice Rossetti ‘of the Domus Pacis organization of Santa Maria degli Angeli that was created to visually interpret some poems by the great contemporary poet Bruno Dozzini with a philosophical introduction by the renowned scholar Letizia Giontella. And it is a pleasure to disclose that Bruschi – already at the forefront in the Italian and international artistic arena – has recently been commissioned a portrait of a mayor of Perugia, to be included in the building picture gallery. Bruschi has also donated some of her works to contribute to the construction of a shelter in the Congo. The event featured entertaining musical interludes, thanks to the violinist Licia Di Domenico.

    The ceremony, sponsored by the Municipality of Perugia and the Province of Perugia ended with the special thanks by the artist herselfi who donated to all attendees a folder with an engraving and a poem by the president of the ‘Corimbo’ Angelo Veneziani .

  • Assisi, Properziana Academy of Subasio, magazine “Subasio”, Quarterly of Cultural Information of the Territory, Year XXI-XXII, December 1, 2014, pag. 5
    Giovanni Zavarella: L’Arte sacra vive e si raffina nei segni di Giovanna Bruschi. The journey of Angela of Foligno interpreted by the artist from Perugia in an exhibition of drawings with pencils and ink.
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