MILAN BY NIGTH
Milan by night, is a paint work in oil, on canvas. Reascend from 1957 these were the aerly years after the war and people were bustling with works and feel the joy of being together, the hope of a better tomorrow that everyone expects. It was Christmas Eve, and in Duomo sqare, full of people poured into the streets, in their arms with parcels well packaged for Christmas gift. This is the first notation moral of the painter. The ability to donate is the revelation of their own wealth, which brings them grateful joy to their neighborhold. In this context, real historical document, it reveals a past that, although no longer exists, it keep present in spirit. That image is always present, the time has not worn out, like an echo continues to resonate in their heart.
(p44) La Trebbiatrice. Bruno Colla,this painting dates back to 1963 and is one of the first paint work of his career although he started painting very young in the manner of the great painters of the Renaissance, this already marks a caesura important for the career of this artist.
The use of color is the real prospect which refflect the real colors of the land soil, because it is the ativity of farmers which relates to this painting to represent a season of life and color in the foreground of a farm machine.
LA BANDA DI MASER
The Band of Maser is a large painting, surely a framework that aims to tell a piece of history of this country. The subject is studied once again, it is not created in the studio, but instinctive. That's how this works artist with a passion to represent what moves, what makes sense, not for the sake of selling, but for the thrill of being a great artist who was impressed faced with something simple: band of Maser. Nothing is taken away from the original context: a day of celebration, the shift of the band in the square, the parked cars, the houses that surround this event. Nothing disturbs the whole. It is the perfect application of the color of the building, the flowers, the tiles of the roof and the curtain that seems to the observer in a photograph, the colors are spread evenly so that only when he looks down to the first floor you realize being in front of a painting.
La Vendemmia: The harvest is one of the most beautiful pictures and most representative of the talent of this artist Maser. The painted scene reflects everyday life, we are in September, harvest time. The person shown here is a farmer who collects the grapes and then make the wine, this is typical of the region of Veneto and Brown Colla has been able, through the colors, make it come alive! The image that appears is divided into two floors: the first floor, clearly visible, is characterized by pruning while the second seems to be vague and consists of the screws and the landscape behind the farmer. The predominant color is green, which is used in different shades to represent the screw, shown with its unique shape and intricacies that characterize the branches of this tree, but also to represent the grapes: for each grape was painted individually own to give the effect of the roundness and the space occupied.
VILLA BARBARO DI MASER
The idear came from a photograph taken in a day of celebration, this painting is one of the most beautiful architectural and artistic work of Maser Villa Barbaro. Visited by many art lovers, the villa comes from an unusual and extraordinary collaboration between designers, painters and clients, allowing them to blend in an equilibrium model of the villa, the company and the landscape. In a beautiful prospective study Colla Bruno plays not a usual image front of the villa, but a glimpse particular. The talent of this artist lies in going from predefined patterns of society to recreate an original work known to all, and many have already played.
SAN PETER SQUARE
is a large painting by Bruno in 2004. The square was designed in 1656 by Gian Lorenzo Bernini. The painter reporta faithfully one of the scenes of Rome. The striking piazzae its colonnade frame the largest basilica of Christianity: in these places stood the circus of Nero GARDENS, where many Christians including St. Peter suffered the torture.
Brono Colla in this oil on canvas lingers to paint a basement, or rather a winery, which is located right at the foot of the mountains, on the beautiful hills of Maser. The attention of the painter not only attaches on the subject, but his point of view widens to landscape near, that landscape that is often depicted in his paintings and he becomes almost a signature in his works. This painting shows a detailed study of perspective, a precision in the design details and report faithfully in the subject. The observer's eye is, in fact, born at first on the winery, then naturally driven by the wise perspective up to linger on the rest of the landscape. Even this painting is divided into its plans to give the effect of spatiality and depth. In the foreground are the wrought iron gate and a fence wall, played both with patience and realism: the wall that surrounds the Winery is of stones, which are paintings one by one just to give an idea of three-dimensionality.
CASTELBRANDO di Cison di Valmarino
Each artist in the choice of subjects relies on different devices, Bruno follows the current of painters who paint themselves, paints with feeling the landscapes and the people who are able to excite and capture their attention. Perched on a promontory overlooking the Valmareno in the mild climate of the Treviso hills, Castelbrando is one of the finest examples of the redevelopment of the historic and artistic heritage Italian and one of the largest castles in Europe. Steeped in history and legend, welcomes artists with an austere and elegant, perhaps the characteristics that influenced the artist. Initially conceived as a defensive fortress, the structure over the centuries has undergone expansions and renovations that extend from Guelph battlements of the thirteenth century to the linear rigor of the classical style of 700. The skill here lies in being able to represent the different perspective planes there is in the castle and also the park: it is in fact part by pine trees down until you reach the double walls higher. Castelbrando - Cison Valmarino This painting is treated like all other works of Bruno Colla the smallest detail: in this case the red curtains, coats of arms, the bas-reliefs of the facade or just the pink flowers that are found in the castle garden . Lacks the human presence in this painting, everything is absorbed in total silence, thanks to a sky so clear and delicate seems to play the castle with an aura of tranquility .
VILLA BARBARO di Maser
Another glimpse of the Villa Barbaro at Maser, the view most often used by painters to depict this eighteenth-century Venetian villa.
The villa was the typical noble house that develops between the end of the fifteenth century and the nineteenth century in the Veneto region, becoming a fashion spread to the point that the noble families spent enormous wealth to build this villa which was to be used only in the summer.
LE ROVINE di VANVITELLO
The ruins of Vanvitello is a picture of 2006, another painting that deviates from the style of Bruno Colla, but that emphasizes the skill to be a technique and a different language. The ruins of the painting Vanvitello like stepping into a painting by Giorgione, the Venetian painter, loved and much studied by Colla. It is certainly an idyllic landscape that is presented to us. Our attention focuses mainly on a river that divides the landscape into two parts: a first floor and a second floor. In the first floor of the strongest colors, dyes and fillers well defined, and there are characters, three women chatting animatedly sitting on the hills and on the other a mother and a child. She seems intent on looking beyond the river while the child is the only one to notice our presence. Beyond the river the colors are more subdued, there are ruins of Roman buildings perhaps seen the arch, and farther still the landscape continues through the mountains that seem to take on the color of the sky.
Passo Giau is another great painting by Bruno Colla created to put highlights in the beautiful scenery that surrounds just the Giau. The painter pauses to create the different perspective dimensions using the color and the difference of floors. The study of space and figures in the foreground lead to a break of perspective and thus create the landscape background. Starting from the first floor there are five characters cut from a newspaper, are also characters in the world of entertainment, familiar faces of television series, but this is not particularly interested in Colla, the characters are used to make only the difference between the first and second floor. Nothing is left to chance and even television characters are depicted with precision and in poses that in looks and expressions. They are sitting on a bench, but do not communicate with each other directly with the viewer, establishing a relationship of communication that makes the viewer protagonist of the painting. Study and realistic poses: the first blonde girl on the left wears a hand through his hair, while the other girls have different poses, one sitting on the bench holding his knee, the other is sitting on the ground, creating a further distinction perspective. Even the guys differ from each other, indicating that the attention given to the whole painting whatever the main theme: the painter says that to see the mountain and understand the depth you need to work on the first floor to create the right contrast.
Mary the mother of Christ and Christ Jesus, is one of the few religious paintings made by Bruno Colla, it represents the Madonna of Maser. Mary's preoccupation is not a concern, as we usually see in most painting, her eyes are dark and sad, imagining the fate of her son, but be careful, wading the observer or rather the faithful who kneels at his feet with a prayer to ask for a pardon. If Mary's gaze is also its communicative gestures have a symbolic value with one hand tenderly embraces his son and the other leg is almost wide open sign will bless those who have faced or you want to say to the people who need have patience.
I FRATTELLI COLLA
A beautiful retraced family, Colla. On a Sunday celebration, a simple framework as a whole, but full of details that make this a master painter and the use of color in the picture. The starting point is still a photograph taken on the day of celebration in which one of the brothers Bruno celebrates birthday. From a simple photo that saw grouped all the brothers came out a painting of great emotional intensity. No foreshortened perspective, a simple hedge beautifully frames the faces, with trees and logs alternating the green and brown. If you look close you can see that the leaves, though simple, are represented using many shades of color, just to give the idea of movement and accuracy of the representation.
VILLA MARINI. XVII SECOLO
In a living context that looks a lot like Lloyd from a village, in 2003 bruno paints this villa dating back to the 17th century.In Villa Marini, everything focuses on the overview to guide the observer's eye inside of this ancient farmhouse space. Our tour departs from the gravel road that leads us to know another place of remembrance, in between two walls made by stones: note the colors with which the painter marks the roundness of each stone.
IL GRANDE QUADRO
Another great picture of Bruno Colla, which represent a particular event in Maser: the exhibition cherry market is held in the month of May. The starting point is a photo, which becomes a simbolic start for this great painting, created with the intention to remember this event in time. Bruno Colla often uses photographs to capture some event or some scene that mostly strikes, and then work on the canvas in his studio.
(p128) CORTINA: the PRINCIPAL SQUARE:
One of the most famous holidays destination in our area: Cortina d'Ampezzo, here becomes the main subject of the painting, the observer presented in the form of postcards. Again a particular device is the signature of this creative artist, out of the ordinary.
DOLOMITI - SASSO LUNGO
In this painting of Colla, it leads us in the dolomites the Villages of stones in particular. From a photograph taken in a day of celebration, comes this painting: The technique of this painter is now clear, looking for places and images that can bring in mind his emotions and memories that are, then reconstructed directly in his studio with calm and precision. The canvas can be divided into four major groups visivament oblique create movement and lead the viewer to go with the look to new areas, bringing the orcchio to see not only the first floor, but move from one level to another prospective seeing actually the smallest of the mountain.
PASSAGGIO CON BARCHE
The visual experience is always that of a living landscape: each wave is "accompanied with our eyes" to break over the jetty, each roughness of rock, surf or wave motion of clouds is a perception that relives the same ancient and ever new .
In Bruno Colla the contemplation of the expensive places and the need to paint match with the same passionate force. The nature of the artist Maser, is never just a show, but a living environment, from his paintings show a devotion to those who are the places where he was born and lived, an environment seen from the inside through visions emotional equate observed place and state of mind that perceives it.
A reality show from this great painting. titled; "They'll be Famous"., in fact the boys are portrayed actors in a television program. Bruno Colla is used in working with large canvas because it manages to faithfully bring people and details, this painting was born, once again, from a photograph chosen by the painter not because of the content, as well as for the postures and positions of all different members of this group. The background is composed of two simple color: brown for the floor and the blue for the wall. In this painting, everything is focused on the expressions and movements that make each character unique. They are no different groups of people, but all the characters are connected to each other, thus creating a homogenous group. Great job of concentration has been the representation of the hands, movement and represented in all different perspectives: from the front, side, palm up or with his fist. Nineteen are the characters depicted young boys who pose after finishing a dance, someone is in fact still showing the last dance step. Surely the attention of Bruno has focused not only in posture, but also a richness of detail in clothes, color combinations, lace, trims the jacket or pants. Here the painter does not aim to create a series of portraits introspective, but to take in all the particularity of movements, hands and faces that make each character unique and different. Fame The gestural interaction becomes necessary that the group because it is the connecting node between the different characters.
LA PIAZZA DI ASOLO
The Asolo square, match and merge in a balance that exceeds ephemeral states of nature, the immediacy of a pattern that has kidnapped his eyes with the memory that gives new body and form the impression felt. As a painter, Colla know's to be in the landscape but at the same time away from it, can tell with the colors of what they perceive with their eyes, touching, grabbing, winning time after time, canvas after canvas, result after results, flashes of what remains the elusive essence of nature. Countries and places of his house, Maser and Asolo, are depicted in this picture, as the main square, which shows the heat of houses, streets as places of exchange and relationships.
NUDO CON CONTRABBASSO
Bruno Colla paint this oil on canvas, presenting us with a wonderful nude girl. The protagonist is a model posing next to a bass. The colors used by the artist for this painting are warm colors. she is in a room, the setting is bare, but the colors are applied with precision and realism. Bruno Colla, uses the device of the empty room to attract attention only on the first floor and prevent the eyes from scattering in other details. The painter in the nude girl with bass, proves to be a true master in the use of colors, you can see shades not only the background but also from the table that takes the grain of the wood, but at the same time not to fight with the rest of the framework, indeed, it creates a true harmony of colors. The real beauty and uniqueness of this painting, is however, is representing the complexion of the young nude girl, the sinuous curves is accompanied by light strokes, the color is almost not perceived in its consistency.
This oil on canvas, Bruno Colla is one six most famous symbols of ancient Egypt: the tomb of the great Pharaoh Tutankhamen. Another painting, another style. This is the true skill of Colla: the use of color and detail of finish in any object represented. The image of the sarcophagus here is transformed into a photograph so is the accuracy with which it has been painted. Behind this lurks the entire history of civilization. The Egyptians were a people that has left many testimonies of great artistic value and sacral vertebra and that still fascinates for rituals and for the organization in the construction of the pyramids.
This large painting is born again from a photograph taken by the artist during a party and then brought into the studio and reproduced in full size. The technique of Brono Clolla is very particular: often focuses on some images or scenes that attract attentions so much to want to remember and to impress upon the mind, through the photographs. It is the photograph that the realization of his art and his work .
The artist uses a canvas background in this unusual, two primary colors: cobalt blue and magenta, lying to create nuances that sometimes come with white. There is a sharp contrast between the upper-left of the painting and the opposite corner, surely this device was used to lead the viewer's eye to the main subject: Sabrina Ferilli, implementing what is known in the world art tonal perspective, a perspective that is built solely through the use of color. Color that makes the body of the soubrette real and alive. Resting on a chair, studied also prospectively so perfect, Ferilli has a semi-recumbent position typical of greek-roman deity, usually depicted in this way.
NUDO NELLE SPIAGGIA
In a beautiful natural beach, still untouched by human hand, Bruno Colla fits its subject: a young girl with long dark hair. Spontaneously the analogy with a mythological fable beloved by painters of late fifteenth and early sixteenth century: the birth of the beautiful goddess Venus, it is said that the most beautiful goddess of Olympus was born of the sea foam, then brought to shore from the wind and accepted by the spring dressed in a mantle of flowers.
This oil on canvas, titled The Wives, born with a certain spontaneity, the title is chosen by an acquaintance of the painter, looking at this painting, it has the feeling of penetration in to a conversation of the females. The gossips is a term arising typically Venetian, designating the women who are talking or rather to speak ill of what is happening in the country. There are six women depicted in this painting, all different and willing to act for Bruno Colla, almost to make them aware of the title attributed to them. The postures, such as the hairstyles and clothes are all different, even if we can see some specularity, in fact distinguish two groups. The first group consists of the first three women respectively dressed in yellow, green and pink should be noted that all the details are taken care of, nothing is left to chance, the shoes are strictly the same color as the dress. A second group is formed by women then dressed in blue, red and pink, which seem to be more aggressive than others, their postures seem to attract the viewer's attention with aggression, prove to be conscious of their beauty so much to do with a pride.
LA ROCCA DI ASOLO
The fortress of Asolo Asolo is another landscape painting by Bruno Colla. Asolo is often called one of the most beautiful small towns in Italy, a country known for its architectural beauty and made famous by so many people were fascinated by its originality, as was also the painter Colla. The imposing structure of the Rock of Asolo is spread just a hundred yards as the crow flies from the city center and incorporates, with its characteristic shape of an irregular polygon, the pointed peak of Mount Ricco. This particular and privileged position throughout the building dominates the landscape and becomes an element of recognition for the Venetian landscape.
LA BANDA A CORTINA D'AMPEZZO
This large painting depicts a characteristic feature of our small mountain villages: the band, here represented as a picture taken from above, in a section that is as pure folklore. The artist Bruno Colla, is presenting a new and innovative work. Moving away from the usual frontal view, about the maturity and experience of the use of colors. the artist has been able, by submitting a creative work which is made unique and live through those fingers that seem to flow faster in the instruments so as to hear the sound and to be able to distinguish the concentration of each individual, the features that makes the picture even more true. Each element is, in fact, represented in a personal way and is characterized both in that position in the suit. The clothes are in particular attention to the smallest details, making each a unique individual: the typical peasant skirts, shawls and even coat cuffs, show us richly decorated.
This picture is only representational, the subject is in the foreground, around represented only the landscape; nothing disturbs or distorts the viewer's attention. This is one of the themes that the artist prefers: is a contemporary theme that allows us to understand the artistic inspiration. Bruno Colla does not work for a client, use art for personal pleasure, His inspiration is very natural, is attracted by what is for him, at that time a good subject for a painting. Often focuses on themes that capture media attention at the same time.This beautiful girl which the painter wants the painter presents is a modern icon of beauty and fame: in the present society in the world of show-girls and all the myths. He is able to represent the girl with a simlicity that brings the viewer not only to recognize the subject but to appreciate as if she is a type to reach. Her gesture and her expression makes her a sensual and seemsto invite the viewer to look her fix focus on the half-open mouth, as if she want to say something. Although sitting on a log does not lose her value. Indeed out of this monochrome background, brings us to the horizon where the blue sky bigins.
In an idyllic atmosphere, Bruno Colla represent a painting, that has the flavor of a distant ancient time, drawing those subjects so dear to painters of the late fifteenth and early sixteenth century. "The pastoral" is the title of this painting and the scene that appears to us is that of a typical day in a small hilly village. This representation is very different from the current painting of Bruno Colla, is definitely one of those paintings that marked the formation process of the artist along with another painting, "The ruins of Vanvitello" which give a feeling of going back in time where our grandparents lived outdoors, working in the land and fully exploiting the resources it offered. The painting can be divided into three parts and the device that leads the eye in this division is the hedge, the hedge so dear to Leopardi, to prevented the gaze to go beyond, but did not prevent the imagination to see the infinite spaces and to listen to the superhuman silence.
BALLERINI IN PIAZZA
The Art in the figure and the landscape is observation, perception, exaltation of beauty and expression of the imagination shown on ths canvas.So Colla introduces his idea of making art in response to those wondering whether this paint work is done outside or inside his studio. His paintings are often loyal to the reality and this is the key to his interpretation of art: to inspire. Colla has an inspired and mature vision draws in his studio, reprocessing it according to its sensitivity, his experience and his desires, is contaminating his mood. Bruno Colla still keep this styles to a sincere and deep values. Work to belief that art should bring serenity and facilitate dialogue and communication. For this reason, the artist seeks the essence of what he paints with a simple style, using what it is made of nature: light and colors. For the artist, nature is always something alive and also participates in the creative act.
IL BACARO DI ASOLO
Il Bacaro Asolo a special of fine wine test, a typical character in the Venetian environment within the so-called "tavern". The protagonist, struck a pose by the author, is leaning on the counter in the background unremarkable. We are in a basement, you can tell by the simplicity of furniture and wood hues that give the idea of an ancient place, which still smells of nature, vine and wine, a place always considered meeting point in which the labors of the day are forgotten and friendships intensify toasting with a glass of wine typically Venetian! On a monochrome background stands the character of Bacaro with all the vividness of colors attributed by Bruno Colla. The white shirt and hat create a harmonious contrast with the red suspenders that call at the same time, thanks to the flowers of white, the neckerchief and a glass of red wine ... strictly! Looking at the painting, our mind can not be reduced to remember some pictures of a famous artist from the late sixteenth century and early seventeenth century: Caravaggio, who created many paintings depicting Bacaro, the god of wine. This oil on canvas seems to review, in modern terms, a review of the paintings of Caravaggio.
One of the most beautiful portraits of the career of Bruno Colla, La Triestina represents a young girl known by the artist in his youth. The young man is certainly a pose, the face does not seem right at the viewer, but three quarters, according to the way of depicting the great figures of the fifteenth century, the look that sets the observer is neither aggression nor an invitation, as women usually appear by Bruno Colla, but simply a look that exudes sweetness and simplicity. La Triestina, so nicknamed the painter, is another significant portraits of the career of Colla.
PORTRAIT AT THE SUPERMARKET
In a chaotic environment like a supermarket, the imagination of
Bruno Colla could not dwell on a particular that captured his attention.
So from a photograph taken was born a painting that shows the great talent of this artist of Maser. The background of the painting is not visible, but still manages to feel what is represented, the view appears blurred to give way to the real subject which takes place in the foreground. The technique used seems impressionist, for which you let the image emerges from the second floor, but at the same time allows to perceive those that are the dynamics of the newspaper, in this case, the life within the supermarket, the colors of the shelves, different products and the same people who established ratios.
he old is a copy of the work of a great Venetian painter of the sixteenth century: Giorgione, or maybe just a revision of the work by the painter Colla. This painting dates back to the early art of the painter, there is indeed a willingness to study and learn the manner of the great masters trying to copy or adapt some of the most beautiful paintings. The woman portrayed by Giorgione for years has been identified as the mother of the painter himself, and in his hand he holds a scroll which has been added, which contains written "with time", perhaps a warning to the destructive action of time on beauty and femininity .
This painting is another portrait of the early years of the career of Colla, and the character HERE represent Eleonora Duse, deservedly called the greatest stage actress of all time, a "myth" of the Italian theater at the turn of the late nineteenth and early twentieth century. Eleonora Duse do not attend school, but at the age of four yearsshe was already on the stage, twelve years, she replaces the sick mother in the lead roles and the age of twenty was taken with the same role. Sensitive actress, Eleonora Duse affects the adhesive so Colla wants to dedicate a portrait, one of the first of his career, where he was still perfecting the style and the colors where coming to life. This painting is linked with another great picture of Colla: The fortress of Asolo.
THE ROLL ROYCE
The Rolls Royce is a very special painting because it marks an important milstone in the career of the painter. The style or paint work of an artist has never been the same throughout his career but gradually led to discover and experiment with new forms and new ways to innovate and to create a new art that marks his personality and his way of seeing and representing the world. Bruno Colla change the paint from a figurative painting in which the colors remain undisputed protagonist.
Hell, acrylic in canvas paint of 150cm x 100cm, by Bruno Colla. experiments with new modes of expression for six years, competing in the genus, the abstract and futuristic. This images are indipendent that transmit their own need for freedom from outlines and perspective. There are no rules that must be followed and even the most simple laws of nature are distorted, often in fact we find in the paintings of anachronisms. for an artist to creat his abstract works rilies on his particular ability to combine crylics, hours of opaqueness, hours of brghting, creating a variety of perception that it becomes a dramatic color.
LA RUOTA DELLA FORTUNA
This paint is mostly attracted by young people, this painting has the feelings of new age, colors like in the night club, like pouring yourself over differents of colors which gives a smile of life. A faith without hope, however, is no future, any action without a dream is an empty box without the company of tomorrow, and history, our personal history, remains imprisoned in this treasure chest. In each of us, over the evils, the conversations, the faults and limitations is an ideal value that makes us, above all evils, aware of the possibilities that life offers. Colla imbellisce the wheel, making it more beautiful, better and perfects, but luck can never be an escape from real life, happiness can not be made to coincide with the "miracles of craft."
Colla Bruno was born in Maser, the country‐side, at the foot of the hills of Asolo, happy place, sun‐rising,
cherry and apple trees in the spring cover declines with an inflorescence of white and pink, soft as cotton wool
cloud that accumulates, until the fruttiscenza. Above the sky on the wooded hills is cultivated with olive trees,
below, where the slope down towards the countryside, it captures a smooth expanse of vineyards. A soft
breeze, fragrance to the soul, wandering thought, as the sun wanders the sky gilding the trees and the light
makes the vague horizon and mottled as a precious brocade, or a soft velvet. Maser is a place of wonderful
fertility, rich in fresh shelters, ground bestower of fertilizing water, land of villas chosen by Venetian nobles
who came to spend the summer months in building valuable, from the point of view, art and architecture. It is
enough to mention the Villa Barbaro, a building among the most significant of the '500 Venetian, the
maximum expression of the genius Andrea Palladio, beautifully decorated with frescoes by Paolo Veronese and
sculptures by Alessandro Vittoria. Much is left of those visions in the painting of Colla; there is in him a strong
tendency towards realism almost photographic, but along with this a stem of productive, love of the outdoors,
a love of nature that manifests itself in all its exuberance. curiosity outwards, attraction to the new, stimulus
within which it operates the acquisition of unusual shapes and original. It is not, indeed, naive realism, because
his sensory perceptions are the result of tension and mobility that can not rest on the data acquired. Tries
often, artistically extreme ways if not changing, transforming the world that appears in his eyes and in doing so
transforms the reality external to himself. Searching creative space to celebrate life, is not won or skepticism
nor by history, builds on the long experience and accumulated emotional richness. In art as in life happens:
there are those who try and try again until they can't overcome this obstacle, those who instead give up at the
first error and stops groped. The first becomes safe in their means, the second remains a quitter, and he who
does not give up becomes a strong person, able to aspire to goals that aim; who avoids errors continues to
grow, it remains confused, inconsistent in trying something that can really interest him. Colla, however,
possesses a characteristic feature I dare say special: its sensory perceptions become, over that objective
representations of reality characterized by models derived directly from the real, field observation of humble
subjects, to report urgently with relevant annotations in the context of painting. It is far, however, Colla, from
any of negative poetics, out of the crisis, by the absence; affirms in his works the most significant aspect of
painting, through creativity always stated and correct. This is equivalent to one of the qualities of Colla: the
anxiety of the new, the ongoing need to test themselves and self‐surpass, sensitivity of singular linked, not slyly
the oscillations of contemporary taste. In front of his works, unusual breadth of the surface hands me a quick
thought: thirst for the infinite? I have responded to this question, Colla is definitely reliable, credible, truthful in
his outbursts aimed at the preference of subjects which form part of his life every day, but it also breaks
occasions or higher. Colla is definitely reliable, credible, truthful in his outbursts aimed at the preference of
subjects which form part of his life every day, but it also breaks occasions or higher. dividing is not the sense
of distant attitude, of studied nonchalance of one who is sure of himself and of his own means, but rather
builder solutions ineffable, tipping the world. A rigid discipline, obtained by application and perseverance.
Means the dividing, be direct, be mild, it also means to bridge the gap between intuition and trust, bringing the
spirit of what you are doing. It also means being guided by an ethic of spirituality that seeks and provides
meanings. If matter expresses the quantity, spirituality expresses the quality, it manifests itself through
matter, the spirit is not life. Everything takes on a realistic, moral nourishment for the filmmakers, rip ideas
from the simple, the living stone, without thinking about anything or anyone, but only to secure the
harmonious union that is expected from your intuition. It is difficult to mold the soul in a personal, Colla
departs the fears, cultivate faith, sharing with others, the company, with the men, the things said with
spontaneity and immediacy. Colla often repeats that he has no imagination, that to paint needs to have in
front an image, a photograph. I think using the word with lively irony, because I feel that the imagination is the
mother of the feeling and the hallmark of his nature, the only screening of the senses. The impulse of these
passions and the logic of reason make social men, but it is the imagination that inspires the imagination, the it
does involve men under the experience of the heart. Colla is a person who undoubtedly love socializing, love
being with people, who needs, in my opinion he has a rich and active imagination. This state of affairs
can be recognized in many paintings, where reality is transfigured and the painting becomes a mirror of
enigmatical imaginary sensations, which art realized and communicates. Painting is a figment of the validity of
which contributes its communicative power. Colla research objectivity, using a mechanical camera that
produces images mute, in need of a caption to be interpreted, but then engages its subjectivity, a form of
abstraction, if you like, a non‐figurality because what matters to him is to make clear its participation, creating
essential value, for example, the outline and border. It is difficult to explain the intimacy of Colla, even
more difficult style expressed in his painting, beyond the design that tends to define the forms within defined
territories, beyond the intense colors that gives his works, does not allow leakage, and each element becomes
necessary and indispensable The images, however, give to the viewer, a way to "rip off" of recognition and
satisfaction, as an expression of an attitude sensuous and spiritual sense and spirit fused harmoniously and
closely associated so as not to disturb our stressed susceptibility. The merit of the artist is to be found, I
believe, place the commitment to pursue a realistic goal, solved in a modern way, with stereoscopic eye
sometimes. Fills with colors, large canvases and then goes to work, strengthens tones, sketches the contours,
the greatest value is the adherence to the theme with a spontaneous openness, so in front of his paintings,
accurate in composition and color, you can guess that the best of his work, is always accompanied by a
photograph to compare its aesthetic convictions. Colla also feels the need to adequately express the spirit of
the time, the feeling of modernity, that sees the rise of social problems, attracted by the media and
television medias. Also fulfills the task of maintaining links with his country, family, friends, the town band,
monuments, namely present, that is. Does not exist, however, a unique reality, the same for everyone, but
many realities as there are individuals. Of course, faced with the same model other painters will paint different
pictures, but what is the most valuable? A picture, a color reproduction of the product will always be better?
We live in the age of the poster, the giant posters glossy and immaculate, but the invisible art expresses the
reality of the senses. Of course, art is a subjective of fact, the feeling of the artist who has the sensitivity to
reduce the external reality or the natural fact to its extent, by sharing their emotions to other men. Colla
produce images with art. The result of the action resides in what he chooses as a ground for representation,
which is to have its own independent existence. In the work of the painter. there's the movement of the
spirit, the energy in the activity of Coll's works which accompanies the act of thought. His communication is
always clear and when it produces an ornament, this hides a unsullied pleasure that elude ordinary