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JULIO SAMMARCELLI (1903-1988) IMPORTANT MODERNISM CALIFORNIA ARTIST.

Written by: Louis Danz Author of Books Modern Art Criticism

Once a puzzled became into the house and asked impetuously of his grand-father, Grandpa? "Can a spider count, Can she?" "Why do you ask?" Grandfather queried. "Because every morning spider spins a new web on our Rosemary-hedge and I count the spokes in it and each time there are just twenty-one." Grandfather pulled at his beard and seemed to bethinking hard.And then he said, "Well,my little rooster, you grew ten fingers and ten toes,before you learned to count." And now, years later,this story came back to my mind when I first saw Sammarcelli's pictures. I thought for a long about it, and I saw a profound analogy. I saw how nature-ly these pictures had been born, drawn directly from out the artist's body as if they had always existed inside him in their potential state. To exuberantly bring them forth was a logical as the growth of the fingers from the hand or the arm from the body.

One might, if one dared,use the term "Existentialism."

To me, Julio Sammarcelli's pictures are "body"--man's body--until they become"pictures,"then they, intern, become "body."And from that on they live in their own right and might, as much so, as a flower or agree, or any other of the thousand forms of livingness. This isa wedding of art and nature.

Such art as this is bio-art.

How pristine clean it is!How Perfect!ere we have total expressive structure in whichever element functions. at no time does Sammarcelli allow his exuberance of invention to hamper his feeling for fine structure. Who would have the capacity to alter one line or one color? What critic would attempt to turn these pictures into words? Once Can merely discuss the process at work here. And yet everyone has the opportunity to absorb from them the experience of living discovery. Like Homunculus, the little man in the tiny phial, who held within him the history of the world, just so Julio Sammarcelli faces the future, carrying within him the art of the past as history. Consequently his art is organic in time. It has not suddenly appeared as accident. it has not just happened. It is art now. And it is art of a thousand tomorrows. It has appeared in it's logical time,as every great art has done, to be understood by those who are part of the fabric and texture of the epoch, for those who admits world of steel and glass, ca, at moments sail without chart or compass, but who, seeing buoy in the stormy waters, know the actor lies hidden.

After a long contemplation of Sammarcelli's work, I feel that his brushes were dipped in wonder, that his paints were mixed with awe and his colors compounded of wistful longings and ineffable stirrings, un-explainable. His finished canvases are miraculous births.

he paints for those who can hear the inaudible with their eyes, and for those who can see the invisible with their ears. He paints for those who can feel the shapes, textures, lines and their directions. Therefore let us approach Julio Sammarcelli's work, not only with our eyes, but with our whole bodies.After all, our eyes are just apertures in our heads for the body to feel through.

Written by: Louis Danz Author of Books Modern Art Criticism: "Zarathustra, Jr. Speaks of Art" (1936) "The Psychologist Looks at Art" (1938) "Personal Revolution and Picasso" (1941) "It is Still the Morning" (1943) "Dynamic Dissonance In Nature and the Arts" (1952)