P.B.Kent    
  Painter   Paul  Bonnie Kent  
     
ENGLISH     Pag      2 3
 
     
Italiano
Biografia
Mostre
 
THEY WROTE ABOUT HIM
A.Scalini. - D.Conenna - E. Cecchini
E.Cristiano - G. Massarelli - G.P.Palino.
M.Donini - S.Perdicaro - S. Coccia
M.T.Corleto - P.Parma - T.Ho Kit - V.Tortorelli
 
Home
Biography
Exhibitions
 
 
1972
A spontaneous and genuine painter, who avails himself of a well-done treatment of the colour that does not prejudice violence to the figures imprint on the painting and on the whole, he is equally clever at using chromatic harmonies. His works break a little away from traditional type with often successful attempts to produce, we will say on life scene, a new matter and from here a new interpretation of his upset feeling, with his typical backgrounds of the difficult situation and of the anguish of our times, which particularly reveals itself in many young artists.
V.T.
 
1973
Bonnie-Kent  is a spontaneous, instinctive and very sensitive painter. In all his works, he which always leads to good result, he avails himself of a technique in which the chromatic and structural  treatment is never excessive .His treatment is not exaggerated as those of many other  painters used to be, but it is in tune with coherent and indispensably form is exigencies, which are the characteristic art marks. We have  followed him in these last years, and  we have seen him tremble of emotion every time he has launched to propose a new speech, a new interpretation of a lifes image, of  his feeling as a man and as an artist, deeply upset in the growing confusion of every day is life. But Bonnie-Kent has always continued the beauty of images, in technical perfection, because of his vigorous will, his artist feeling which gives him  new energies and alluring hopes in the very difficult field of figurative art. Seen from  an aesthetic point of view, the young painter has succeded in very little time to master from amalgama of form and content, that is the most delicate moment of the artistic creation. He succeeded in presenting valid works under this aspect.
V.T.
 
1982
The attention of Bonnie-Kent in regard to reality leads to the consideration of normally disgregarded details, which he revives in an expressive optic. This optic aims to discover the sign of essential consideration. His agreement to figurative art as complete representation doesn't prevent him using the symbolic terminology which is more accentuated in in certain pictures, creating emblematic atmospheres. his is the case in some still-life, which are created as a representation of some emotional moments, yet at the same time full of meditative tension which can be found among the signs of structural composition and of the cromatic language. The constant search of the artist to amalgamate the formal and content components, find the synthesis in the chromatic choises, made of discreet colours in the background and light colours in the foreground, with a meaningful series of contrast.
S.P.
 
1983
His painting is harmonious among the warm and the dense colours, which are hidden under his inimitable palette, wonderfully happy in profile of girl and still-life with book . Bonnie-Kent's paintings are full of light and poetry, with feverish hand and strong inventiveness. We have only to emphasize the cleverness of this young artist, who knew in a short time how to become popular for his modern painting, spread with colours and precious for deep poetry.
G.M.
 
1983
Bonnie-Kent is an artist gifted with great sensitiveness and with a marked sense of observation. His works witness a keen, participating and vital interest in comparison with reality, because according to this artist the art is  a vital interest for the existence. He is very sensitive to beauty and is generally projected within the ambit of an aesthetic pursuit, which could show up, in the light of psycho- analytic perception, the pure conceit, the idea of notion acquired from the experience of the empiric ego. Paint, charcoal and china ink clarify in their creative breadth, the need of  search of this artist. The works realized with charcoal symbolize the reverse of the medal of Bonnie-Kent. The artist raises from the notion of objectify the figure of the woman in abstract form, separating it from its physical essence. An appearance comes from this separation, an illusion closely bound to the perception of the creative ego, in comparison with the acquired notion about which  the subject has had experience. We define Bonnie-Kent s works Studies of aesthetic criticism where sensitiveness and rationality are present in the same proportion.
G.P.P.
 
1983
In the diorama of contemporary Painting, valid artists deserve to be taken into consideration, for the artistic and cultural apparatus which modern society need to evolve its level of culture; Its human and social relations. One of these artists is Bonnie-Kent Paul, Born in Cattolica present in several artistic dictionaries and encyclopedias of contemporary art. He deservedly succeded in imposing himself on the attention of the criticism and of the public opinion, for his pictorial modus always looking its own creative language. Autodidact, he has been painting since 1969, steadily, emotionally and with positive will. These quailties have proved he is right and have brought his name trough review of art, in various European Capitals and in the United States, to a position of a first-rate artist. Bonnie-Kent is an artist endowed with a wonderful creative sensitivity and with a strong sense of observation. His works bear witness to an always keen, participating and vital Interest for the reality because for this artist art is life. The vitality that spreads from life to art, is always reflected in the author, observing, daydreaming, in the radius of the figures: in the development of hiseelings and emotions. In his all a cosmos is lighted in the spring of thoughts f concepts, bound to a primigenial emotional impetus, searching into the nucleus of imagination, the sharp net of feeling. Hes usually very sensible to beauty, and hes projected in an aesthetic research, which can point out. I the light of the psychoanalytical perception the pure concept, the idea of knowledge acquired from the experience of the empiric ego. Paintings nudes and still-lives show the stamp of an intimate dimension, interwoven in the harmonic arpeggio of warm and winning tones, in the wise study of discreet lights, gushing from the vein of a lively emotion, effect of an eloquent lyrical enthusiasm. But the most interesting in these paintings Bonnie-Kents perceptive-constructive ability, tending to a careful research of figurative elements, which carrying out an expression of form, can promote in the substantial prehensive psychic perception to understand them in the revelation of their aesthetic value, creates the ideal condition for a critical medal of Bonnie-Kent, showing the bottom of our artist, drawing a parallel between lives and fantastic between reality and illusion; he defines these creations illusions; in fact in art-philosophy subjectivism and illusionism go together. The artist moves from the notion of objectives to objectify the figure of woman in an abstract form, isolating from her physical essence. From this separation an appearance an illusion come out and she is intimately bound to the perception of the creative ego, in comparison with acquired. Notion, which the subject has already known by experience. The series of illusions women in profile, meeting etc. are forms and sentiments objectified, intuited in the space of an illusion, like something of ultra-images with specific aesthetic characteristics; something that gives spiritual delight stimulating in the subject the aesthetic feeling of rhythm, of harmony, of grace; disclosed like essential qualities of the object, realized in a contemplative perception. We can define Bonnie-Kents works studies of esthetic criticism where sensibility and rationality partecipate both in the same measure.
G.P.P
 232
1985
In order to sensitive the public opinion towards the expression of the master Bonnie-Kent, who is worth knowing and appreciating for his laudable activity carried on during the past years and, with a more intense passion, he is carrying on the present year, I have given all  my enthusiastic approval and I feel honored to pointing it out  with this writing. Guttuso, Annigoni, Vespignani, Dova, Quasimodo, Ungaretti, etc, do not need  introduction in conformity with personal value. I wanted to point out this artist, for his complete devotion to noble art, in which he excels for uncommon merits and authentic value, because I want to mention him as an important example, a reference point and a milestone in this intricated world he belong to with full and sacred right.
A.S.
 
1985
Oil, charcoal and china ink are the techniques that the artist prefers and masters with great skill and originality in artistical creations. The meaning of drawing is awfully valuable and its stylistic perfection follow close the most new currents of modern expressiveness, which his however rewrote with very personal and intimitate taste and purposes. So the poliedrc aspect and the plurality of reality are decomposed into an higthly psychic interpretation, which aims at disclosing its most secret interiority. In artist's paintings there is not space for fashionable and manneristic attitudes, but everything is entrusted to a visualization of the matter, which is proposed with efficacious and linear marks in their simbology. The chromatic perception is not only quite conformed to the thematic expressiveness of the single works, but it intervenes in an autonomous way in the creative process, offering a thickness of expositive concreteness through the "impasto" and the choice of the optical effect. In this sense, every painting positively feels the effects of the atmosphere of experimental search, where the artist is committed: the result is an art, which is always in tension and in motion with itself and with the surrounding reality, like a true evidence of aesthetic anxiety of the contemporary creativeness.
M.T.C.
 
1985
In artists life there is always a continuous evolution, an interrupted ( ripening  and woe if it is not like this), so the pictorial matter develops in syntony with life reality and with the always new models of man behaviours, which are definite from imminent events, that distinguish our existence. The same has been for Bonnie-Kent, when, 1969, he began to express himself using pencil and paint-brushes. He obviously did I taking, advantage of the clearest and immediate language, which was easy to understand but in comparison, you discover the artist creative anxiety, his anguishes, his joys, his inner torments. So that you notice the whirling of sentimental tension in that new statement to which he devotes his best attention and it is not certainly devoid of emotional stimulus in its geometry. In figurative climate Bonnie-Kent was able to   create an atmosphere of convincing communicativeness also in that dynamics of chromatism maintained on dark tones by transcending illustration and by impregnating every painting with quivers of his personality. You noticed the latent reflex of a   different and very definite geometry already in those  works (we intend oil-painting), which has cleared up and asserted itself arriving at hiscomplete realization. The new dimension of the painter from Romagna fits in a nearly conceptual way of seeing the essence of things and however it does not mean abstraction from feelings, from his sensitiveness or exasperated obscurity, but it realizes in every work, a frenetic world of passions, perceptions, dreams and sensibility, It is certain that the subject must be discovered, localized in those geometric compositions, sought and understood, so abstract by anybody, and that is the figurative language. Then the time modified many things on the outside with identical incidence in Bonnie-Kents heart, who acquired little by little, a new  way of expression with certainty and sincerity. We do not want to condemn or to forget Bonnie-Kents previous production. On the contrary, we consider it still valid, but in comparison, you discover the artist creative anxiety, his anguishes, his joys, his inner torments. So that you notice the whirling of sentimental tension in that new statement to which he devotes his best attention and it is not certainly devoid of emotional stimulus in its geometry. In figurative climate Bonnie-Kent was able to create an atmosphere of convincing communicativeness also in that dynamics of chromatism maintained on dark tones by transcending illustration and by impregnating every painting with quivers of his personality. You noticed the latent reflex of a   different and very definite geometry already in those  works (we intend oil-painting), which has cleared up and asserted itself arriving at his complete realization. The new dimension of the painter from Romagna fits in a nearly conceptual way of seeing the essence of things and however it does not mean abstraction from feelings, from his sensitiveness or exasperated obscurity, but it realizes in every work, a frenetic world of passions, perceptions, dreams and sensibility.
M.D.