Galego | English

Non fiction

Pintor por Italia, Correa Corredoira

By Correa Corredoira

About this book

After two trips, painter Correa Corredoira conveys his different visions about Italian identity. He narrates from the perspective of two different moods, which allows us to follow his free and open approach to the country and allows us to become captivated by its art, peoples and, in a nutshell, by its Mediterranean culture that is not so foreign to us, even if it s through the particular eye of a representative of a finis terrae in the Atlantic.

Correa Corredoira brings Italy close to us from two perspectives: a written approach, not always expected from a visual artist, through well prepared texts that are at times real visions and poetic descriptions, and the plastic one, in which we can acknowledge a unique traveller. Through him we can know and acknowledge the art that emanates from all Italian cities that, thanks to his pencil and brush, is changed into a magical reality of colours.

All in all, this is not only a traveller's diary but a catalogue of images, and the presentation of one of the most important artists in Galicia at present, who is now introduced as a wonderful writer, too.

Book fragment

13th . May. Tuesday: Rome

Today, as good tourists, we are out at nine, after a shower and breakfast, ready to see the Vatican Museum. We go by bus, straightaway. We buy a scarf for Pepita and we drink coffee before we join the queue to enter the Museum. We start our visit in the Egyptian part. Branca is attracted not by the pieces exhibited but by the civilization, the world they belong to. Both of us have the impression that she already lived in Pharaonic times. Her beauty has some air of Nefertiti. Her eyes know the ochre of sand, the abyss of lapis lazuli and the shine of elector. In front of the Laocoonte, she counts the snakes and lets them bite her. We stop in front of the Belvedere Torso, we walk around it, drawing it. It is a perfect sculpture in its destruction. This is a good example for restorers to take some rest and not pounce on it, as they did with the Laocoonte and other magnificent works spoiled by their love for the new, the Sistine Chapel included. The torso as a whole is the problem. It suggests by what is there and is completed by what is not there. Besides, there is a dialogue between the figure and the pedestal, a total integration. It is a human paradigm of grandeur, resizes the humble and flies with its weight. It is nice to see its central location without walls, as it has its own dynamics.