The distinction between “artisans” and “artists”, that begun to take shape during the Renaissance, is today defined, by law, in 13 areas of the artistic craftsmanship.
Today, the “Art” sector includes all professions which involve, as main feature, the production of works, objects or ideas on an elevated aesthetic level or simply following the shapes, models, ornaments, styles and techniques of our historical and cultural heritage.
Confartigianato Imprese Ancona-Pesaro e Urbino has launched a project: “La Via Maestra”, for the promotion and the enhancement of the Artistic Craftsmanship of our territory in a condition of big change.
Andrea Ippoliti, who was already the head of Confartigianato Senigallia in the first years of 2000, besides being an active participant of the project “La Via Maestra”, was also the author of the two big paintings hanged on 29 Luglio in Sala Consiliare. The paintings’ title is “Senigallia: Earth and Sea”.
We decided to have an interview with Andrea to learn more about the unbreakable relationship uniting art to craftsmanship, a connection which goes beyond the concrete realisation of works. A way of narrating the stories of our artisan industries and their entrepreneurs who make Italy great.
Andrea, what is the link between art and craftsmanship?
Andrea Ippoliti: The term “artisan” contains in itself the word “art”. This means that at the basis of the creation there is the ability which derives from effort and experience, hard work, victories and defeats. To be free to express, it is necessary to be into the learning discipline.
It may sound illogical, but it is not. We live in a time where we desire to achieve our targets without effort. Every sort of art needs devotion, discipline and patience. Otherwise, you will remain an amateur instead of becoming an artist.
What difficulties did you have to face in the realization of these paintings?
Of course, the large dimensions of the canvas (beyond 4mX3m) and their placement above the Councillors’ chairs contribute to the difficulty in production. I couldn’t employ the chairs and the scaffolds for months, considering the continuous institutional activity in the Sala.
So I came up with a project that allowed me to paint on many small wooden panels bound to be assembled all together. To be exact, the project consisted of a big central panel and 14 lateral panels. In this way, I managed to paint mostly in the studio and then for four months I worked directly on the chairs of the Sala.
What is the technique you employed in the paintings?
I made them with acrylics: this means that the colour is made of water but, once it gets dry, it becomes water resistant. Colours have been produced by the mixture of pure pigments with acrylic resins, just the way I bind the pigments with the egg yolk following the medieval recipes.
This provided me with a wide range of colours much more varied than the industrial ones. Moreover, I was able to paint with the veiling technique, getting closer to the oil technique, which allowed me to obtain great tonal and light effects.