Tiziana Primavera with some of her portraits at the personal exhibition held at the Capannelle racetrack in Rome web link

 

Have written about her

CAPTURE THE ENERGY INTIMATE

Her paintings vibrate independently of the subject, even a still life depicting fruit emanates its own energy, revealing details of a process that can be analyzed at various levels: balance and harmony, myth and reality. It is the personal search for a sort of energy, which can be found everywhere, if the “quid” is present, which allows inspiration. If energy is what the artist wants to reproduce, his sources are light, color and the sensations. The works vibrate thanks to their ability to transmit an infinite number of human emotions and shines through in animal portraiture, something more than the simple tension of movement. In the painting depicting the white stallion, the eyes reveal a sensitivity exceptional that refers to a faculty of perception equal or perhaps even superior to the human one.In this way, the transposition of the artist’s feelings into his works the tr it transforms itself into mirrors that reproduce its personality and reflex, ourselves. This seems to be the real theme of his work. The artist prefers to concentrate on his own inner life, rather than on the way something is perceived through sight; on what one feels and that is often indescribable rather than on what is obvious.

Of G.Benincasa

“… a work reaches its goal, when it is able to actively involve, awaken emotions in those who observe it … ..” TP

Tiziana Primavera con  Pio Bruni, Cavaliere, Presidente del CNG, storico esponente della SIRE (oggi ne è il Presidente Onorario).

Riceve un prestigioso incarico e per oltre 8 anni  diviene ritrattista ufficiale della SIRE. I dipinti che le vengono commissionati  ritraggono pertanto i campioni dei Derby Nazionali del Trotto e del Galoppo, eseguiti  rigorosamente in stile inglese, tali opere   attualmente affiancano nella collezione espositiva permanente a Milano,   quelle dei prestigiosi artisti selezionati negli anni,  che l’hanno preceduta, sin dal 1800.

 

 

THE ARTIST MUST LOOK AT THE WHOLE “

                                                           Of N. Mostarda
 There is therefore nothing strange, if wisdom does not appear useful or advantageous, since we do not say that it is useful, but that it is good, nor is it right to desire it because of something else, but for itself. In fact we go to Olympia for the show itself, even if nothing else should come from it – because the show itself is worth much more money -, and we are watching the Dionysian representations not to receive anything from the actors, but rather paying them, and we would prefer many other shows to much money. Likewise, speculation about the universe must also be valued more than all the things that are considered useful. It is certainly not right, in fact, to travel with great effort in order to see men who imitate women and servants, or fight and run, and do not consider it a duty to speculate, without expense, on the nature of beings and on truth.
Aristotle, “Protrettic”
The splendid Aristotelian passage reproduced above highlights in an exemplary way the classical Greek concept, above all of Platonic-Aristotelian origin, of the disinterested search for truth, understood as the gaze of the soul on the whole of being, that is on the totality of things.

Aristotle speaks, in fact, of “speculation on the universe”, understood as an “observing the sky”, that is a fruitful and full opening of existential relapses on the sense that connects things between them, which is then “the purpose in view of which nature and God have generated us “.
Thus the artist T. Primavera in his careful, refined but natural production, the only one possible for his sensibilities.

In a world where the individual has become a mere technical officer, and where knowledge is declined only and exclusively in terms of technological grammars (utility, productivity, efficiency, specialized knowledge, cold mechanical ability), referral to contemplation as disinterested – and not utilitarian! – form of knowledge appears to be more appropriate than ever.
In the first place, because the search for everything implies the patience of analytical meditation, as urgent as ever for today’s man, overwhelmed by the frenzy of production and, therefore, incapable of systematically articulating and, precisely, patient forms of knowledge not merely specialist; secondly, because the opening to the whole of the meditating soul concludes with an ultimate synthesis: the ability to bring back that whole on which we exercise our intelligence to its Origin, that is, to the Generating Principle of man, of the cosmos and of the sense that it binds them indissolubly.

Ultimately, contemplation of the whole is contemplation, at various levels, of the divine, a concept, this, one of our most important historians of ancient philosophy, Giovanni Reale, sets in unequivocal terms.
 In short: from the origins to the end the Greeks considered philosophy as the attempt to understand all things, bringing them back to their ultimate foundation, that is, as the attempt to measure themselves against the “whole”. Here is the figurative art, representative of Tiziana Primavera: the search “of the whole”.

Therefore the following Platonic affirmation can really be considered as the seal of this conception: “Who is able to see the whole is a philosopher or artist, who is not, no” “.

Therefore, to question oneself about the essential, about the underlying meanings of our being in the world, about the experiences and the “actions” that have always lived there as irrepressible tensions to the Absolute, as an angry hunger for last things, totalizing, which, albeit slowly , philosophy, poetry and art are awakening in our dormant consciences.

 

Biography

Approaches to the visual arts as self-taught following a particular attention to the works of Caravaggio at the age of thirteen; he deepens his studies devoting himself to drawing and different painting techniques, initially tackling classical themes such as the representation of still life and becoming in the early eighties known as the portraitist and copyist of the great masters. He won several competitions and began collaborating with some Roman galleries, Capresi and Cortina. His interest then shifted to hyper-realistic painting, which influenced a series of paintings. The themes tackled in his artistic career centered on the representation of different aspects of the nude feminine and feminine in its various expressions. Her pictorial research continues to evolve up to the hyper-realistic representations of horses and felines reproduced in their natural dimensions. The subjects represented, using in most cases large canvases, are images of big cats whose specific parts are described with accuracy and that stand out for their tactility and three-dimensionality, in contrast with the indefinite character of the background. At the same time he deepens his scientific-technical studies on representation, offers his collaboration in drafting texts anatomical illustration atlas and descriptive of peculiar surgical interventions with an international team for various publications.

A path of cultural growth as opposed to art characterizes it, certain that it is necessary to let the expressive artisticistic peculiarities freely express, not enslaving them to traditional training courses, and after having achieved the scientific maturity, an enabled architect, deepens the professional aspects of Representation Science , he became Academic Lecturer at the University of Sapienza of different subjects concerning the sector (Descriptive geometry, Projective geometry, Graphics and visual Design, Design and representation of the project, Augmented Reality in the AEC sectors)

Research on photorealistic yield continues in digital representation, explores the representative aspects of Immersive Virtual Reality and already in 2009 conducts application research in the field of Augmented Reality, winning a PhD competition and publishing in 2010 the first markerless application in Augmented Reality applied to the va authorization of an archaeological site.

 

Hanno scritto di lei

CATTURARE L’INTIMA ENERGIA

I suoi quadri vibrano indipendentemente dal soggetto, persino una natura morta raffigurante frutta emana la propria energia, rivelando particolari di un processo che puo’ essere analizzato a vari livelli: equilibrio e armonia , mito e realtà.
E’ la ricerca personale di una sorta di energia, che puo’ trovarsi ovunque, qualora sia presente il “quid”, che consenta l’ispirazione.

Se l’energia e’ cio’ che l’artista vuole riprodurre, le sue fonti sono la luce, il colore e le sensazioni.
Le opere vibrano proprio grazie alla loro capacità di trasmettere un’infinità di emozioni umane e traspare nella ritrattistica degli animali, qualcosa in piu’ rispetto alla semplice tensione del movimento.
Nel quadro che raffigura lo stallone bianco, gli occhi rivelano una sensibilità eccezionale che rimanda ad una facoltà di percezione uguale o forse anche superiore a quella umana.
In questo modo, la trasposizione dei sentimenti dell’artista nelle sue opere le trasforma in specchi che riproducono la sua personalità e di riflesso ,noi stessi.

Sembra essere questo il vero tema del suo lavoro.
L’artista preferisce concentrarsi sulla propria vita interiore, anziché sul modo in cui qualcosa viene percepito attraverso la vista; su ciò che si prova e che è spesso indescrivibile anziché su ciò che è ovvio.

G.Benincasa

“… un opera raggiunge il suo obiettivo, quando  è in grado di coinvolgere attivamente, risvegliare emozioni in chi la osserva…..” T.P.

 

 

Biography

Si avvicina alle arti visive come autodidatta in seguito ad una particolare attenzione alle opere del Caravaggio all’età di tredici anni; approfondisce i suoi studi dedicandosi al disegno ed alle diverse tecniche pittoriche, affrontando inizialmente temi classici quali la rappresentazione di nature morte e divenendo nei primi anni ottanta nota come ritrattista e copista dei grandi maestri. Vince diversi concorsi ed intraprende la collaborazione con alcune gallerie romane,Capresi e di Cortina.

L’interesse si sposta poi verso la pittura iperrealista, che influenza una serie di dipinti.
I temi affrontati nel suo percorso artistico vertono sulla rappresentazione dei diversi aspetti del nudo femminile e della femminilità declinata nelle sue diverse espressioni.
La sua ricerca pittorica continua ad evolvere sino ad arrivare alle rappresentazioni iperrealistiche di cavalli e felini riprodotti nelle loro dimensioni naturali.
I soggetti rappresentati, utilizzando nella maggior parte dei casi tele di grandi dimensioni, sono immagini di grandi felini di cui con accuratezza ne sono descritte le singole parti che risaltano per la tattilità e tridimensionalità , a contrasto con il carattere indefinito dello sfondo.

Al contempo approfondisce i suoi studi scientifico-tecnico sulla rappresentazione, offre la sua collaborazione  nella redazione di testi atlante di illustrazioni anatomiche descrittive di peculiari interventi chirurgici con team di levatura internazionale per diverse pubblicazioni.

Un percorso di crescita culturale contrapposto all’arte la caratterizza, certa che è necessario lasciar esprimere liberamente le peculiarità artististico espressive, non asservendole a percorsi formativi tradizionali, e dopo aver conseguito la maturità scientifica,architetto abilitato, approfondisce gli aspetti professionali della Scienza della Rappresentazione, diviene Docente Accademico presso l’Università degli studi della Sapienza di diverse materie inerenti il settore.

(Geometria descrittiva, Geometria proiettiva, Graphics and visual Design, Disegno e rappresentazione del progetto, Augmented Reality nei settori AEC)

Architetto e Designer, Prosegue la ricerca sulla resa fotorealistica anche  nella rappresentazione digitale di natura architettonica, ed  approfondisce gli aspetti rappresentativi della Realtà Virtuale Immersiva . FOnda una rendering Agency e  nel 2009 conduce ricerche applicative nel campo dell’Augmented Reality, vincendo un concorso di Dottorato e sperimentando pionieristicamente  nel 2010 la prima applicazione progettuale markerless in Augmented Reality applicata alla valorizzazione di un sito archeologico, in collaborazione con i dati forniti dalla Sovrintendenza relativa, presso la tomba dei Demoni Alati in Toscana.

Attività collaborative intercorse nel settore dell’Arte, presso le seguenti gallerie:

Daniele Donde’/  CAPRI  – (2004 – 2008)

Orler / CORTINA – (2007-2014)

Crispi /ROMA   – (2005-2010)

l’Archimede – via del Vantaggio (ROMA) – 2010

Tiziana Primavera vive e lavora esclusivamente su commissione a Roma e Milano.

 

Selected Linkography

Aesthetics | Economy | Education | Environment | Health | Industry | Society | Technology | Thinking

http://www.designfornext.org/lazio.html

  • Receives the prestigious position and participates as a Tutor as 
    Professional Designer selected, at the 12th European Academic of Design Conference

 

  •   She publishes its Academic  Research Work in 2010:  Augmented Reality and its possible applications in the field of Architectural Representation – Interactive contemporary representation techniques: limits and potential

 

  • After more than seven years dedicated to the organization of technical professional events aimed mainly at architects and engineers, and at their training in the field of new interactive visual technologies, AR, VR,MR  she established the first training course in Italy for professional updating for the figures operating in the AEC sector, recognized by the CNI.
  • Distributed since 2012 by IMateria for Architects and  by Mying for  Engineers 

 

  • In collaboration with Senaf Tecniche Nuove, it defines an innovative training and professional updating concept entirely dedicated to Mixed Reality
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Augmented and Virtual Reality