Reviews
Extracts
A. Zorzi (1951): "The solid color and dense, firm and tone degrades through severe harmonious landscapes."
E. Mastroleonardo (1954): "Louis Lomanto reveals a warm feeling and good natural expressive qualities. His interpretation of the landscape is filtered by a spirit keen and melancholy at the same time. "
Raffaele De Grada (1963): "Looking back now Lomanto in the study of some of those and many other works that mark his journey serious and sincere in recent years, I can see that even in our era of inventions, the art follows the path Research in the normal manner and within the limits of sensitivity and makeup that does not work in the open. Louis Lomanto is recommended for these portraits, still on the edge of the quaint, but brought more than just study the figure, for these landscapes made up on inspiration intimate, elegiac reminder of a world long contemplated for a sweetness that tries to paint color difficult and inspired arrangements. (...) His world is precise, his method is that of poetic research. But in this order we can accept it as an artist and his contribution as a contribution not indifferent to the Lombard painting, even in men of different origin, continues to maintain a valuable suggestion. "
D. Villani (1967): "Lomanto is an artist who has heard and assimilated some of the poetic Lombard painting that relies on light warm tones and music that wrap things fade and its contours. A painting is spontaneous and thought that is certainly steeped in research. "
Mario Lepore (1970): "The outside world that the artist suggests the reasons for his painting, found in him a feeling ready internalization of the data offered by the physical nature, and therefore an ability to interpret it as subjective and poetic . Subjective but not arbitrary, remaining essentially faithful to reality Lomanto inspiring in its essential aspect, even making a perfect and meaningful transformation through its visual language. (...)
Usually, at Eurythmy reached the composition, is his taste for large, well-proportioned forms, remains to be anecdote, essentialized by a synthesis that is guilty of excesses and reflects his classical background.
This is because Lomanto is a good designer and therefore a good knowledge of the shape itself. For this reason, to give his figures he knows the right lines, massing right, exactly right attitudes and put them in a space convenient to their tendency to monumentality.
As for the color it is always understood tonally with a penchant for notes and warm ranges, generally low and vibrating.
There's painting Lomanto, a sort of widespread tendency to sound serious and heartfelt agreement, which fits well to the feeling intimate and "inside" that permeates his figures, especially as more and impetuous vented in the color you the landscape. (...) To all this is a matter juicy and decanted from a processing as well as being the result of a good "job" has a footprint of sensuality that is ultimately mastered the spiritual emphasis. And in fact this painting, though far-reaching and somewhat dense soda, suggests a yearning for an ideal substrate, of poetry that stimulates a deeper inner continually and persuasively researched by the artist. "
Juan Bruno (Biarritz - 1973) "The Luigi Lomanto pint with naturaleza de Expresion notable vigor, a lyricism Ardiente Servidio a por seguro y dibujo de llena harmony. En muy a fine material and a todo mundo de artist evokes Sensaciones sentidas with intensidad magnificadas y y por tonalidades calorosas vibrantes. The densidad de la Liberacion factura acentua the poetics of color y mucha fuerza y desempena atmosphere Plenitud de que el arte de caracteriza Lomanto Louis. "
Translation:
"Louis Lomanto paints nature with a remarkable vigor of expression, an ardent lyricism supported by a design safe and full of harmony. In a beautiful field evokes a world of sensations felt with intensity and enhanced with warm tones and vibrant. The density of matter enhances the release of color and a lot of strength in an atmosphere free of fullness that characterizes the painter's art. "
Christopher De Amicis (1975): "After so many years the dominant thought of so much contemporary art is still the desire to" solidify "Impressionism, Cezanne as he wrote. This principle will also notify the painting of Louis Lomanto, understood as the principle need to get out from indistinct and air pollution by the approach to give concrete effect to the principle and basic formal painting. (...) And 'instead with absolute and infinite patience and honesty of ways that add up Lomanto must, in carrying out its activities, old and new values of design and color, momentum and reason, thus trying to give substance to real problem of painting, to match that of a unified vision of his inner world of feeling and passion with the urgency of the color, the need of light, full and complete formal structure. (...)
All the work is set to the right of Lomanto correspondence between plastic and pictorial values, leaving nothing to chance and improvisation, but without losing sight of what is in him, over time, has become the primary assumption of the pictorial: the achievement of the light. (...)
He shows in everything he does, namely, that painting, (...), how high are his intentions and the spirit that sustains them. "
Raffaele De Grada (1990): "(...) was what drew above all on the construction of the framework as a machine image and the idea of painting as a technical process, as the" secret art "in the sense of Leonardo (... ). Lomanto has a vision that seeks to make explicit through colored masses that recover the image with an air of expressionism. (...)
A "Still Life", a landscape, a nude is figured with open enthusiasm (...) with a nobility that deserves to be seen, understood, and even admired. "
Ermanno Krumm (1993): "The Painter Louis Lomanto began to manipulate, for educational purposes, different materials. (...) With a deep sense of form, this material can give the suggestion a few folds of the figures, (...) the sense of form is always striking. Looking to ancient Greece to the refined taste of the eighteenth-century fabrics, Lomanto suggests a face, a horse, a limb that is not there (...). The absolute simplification (...) brings these sculptures "poor" the wealth of the whole tradition, and together, the essential feature of the twentieth century. The decorative style, the difference in tissues used by the artist, mitigate the effect of Synthesis austere. "
Veniero's Vineyard (2009): "... ... a speech deserves the number of horses and riders ... these drawings ..." engaging ". Beyond seeking a decryption compositional language, that is in them such a position of strength, sometimes true "fury" gestural, transmit such a total immersion in the act of creation of the author, to establish an immediate short and violent with the observer, which reduces the critical distance and puts them in, sharing in contemporary suffering of the communicative act. "Power of the sign."
... ... These works are very much alive Lomanto: perform with traditional instruments in many situations the most dynamic "performances", installations, interventions on the body, etc., and make you think of the endless possibilities of expression of a mark made on a surface.
Artist ... ... cultured and "voted" to his art, German expressionism and Lomanto identifies its "ethical" guidelines of his research. Only in this light are understandable emotion and the excitement produced by the large splendid naked and very effective by many boards of horses and riders. We are talking about guidelines, modus operandi, the affinity of language, not to imitate it, like any true artist, these works are "his" and only his. "
