Sunday, October 24, 2010

Carolina Ap Biology Lab Answers

Cristina Roncati



A woman, an artist, instinct, sensuality and passion.


A critical express an opinion based on his personal understanding art. And it does standing up in court summary of a given society, so in a deliberately more or less sectarian, enhancing the beauty, the new, the innovative and interesting.

He will judge the work for what it appears, often disregarding what this means. And in most cases the work shows an inner world, is this what the artist or company that expresses it.

simbiologo A look at the art to understand the reasons that the environment, culture and internal impulses generated in the artist.

not a psychotherapist, the most of his analysis is only one stimulus, addressed to the author, to exceed the artistic reached.

the work is good or bad does not matter, nor is it listed, important or famous. It is of great interest is the bond that binds the artist and the environment in which he lives.

The simbiologo plays a procedural process and intellectual looking at the works in a detached way, of whatever kind they are: the work is one of the procedures for understanding the etiology and artist at the same time, the company that expresses.

His thinking is not intrinsic to the work of art, but to everything that has generated, including the artist.

In practice the art work is the result of an evolutionary process and communicating messages to others, set in a context family, social and cultural precise.

The various works of an artist creating in their temporal succession, a persistent line, continuous and lasting peace that will change his gait following the evolution of a parallel life, composed, like all lives, by joy from pain, from expectations, plans and sometimes even dreams.

And on these starting points I intend to stick, even if deliberately not dwell on issues that I consider very personal, so private and that these should remain.

Of Cristina Roncati previously I had only two works analyzed randomly, and very partially taking advantage of two photographs of the same: The rider of the apocalypse '1973 'and The Cubist '2004'.

suddenly I had an impression that after an appearance on the specific forms taken care of, and elegant pleated, concealed a deep longing, especially freedom of personal intent to be fully accomplished, a tarp and some subjectivity constrained in their aspirations by strong interpersonal problems of the affective sphere, often suffered, therefore less rational and more instinctual rather than deliberate and constructed.

And if the first work exudes an eschatological aspect of myth, partly linked to John's Apocalypse phantasmagorical religious or similar classical reminiscences, the second denotes a sense of an attempt to androgenic sexual emancipation of its evolution our time.

The two works are quite distant in time, but between them, while the opposite type of subject and theme, share a common form of harmonic motion static, almost an endless wait for the fleeting moment that will .

both give off an esoteric taken, the result of a profound evolution of an aspiration that is far, even today, from achieving inner peace and, with this, the personal satisfaction that places the artist in essence and happy new awareness of being fully realized.

accepting a friendly invitation with great pleasure Cristina I visited his exhibition at the Forum Boario , drawing an interesting overview of her being a woman and artist, instinctively meaningful , sensuality and passion, imbued items, spesso, anche di abnegazione e sofferenza.

La mostra antologica appare anche nella sua dislocazione logistica un interessante specchio sia della vita che della personalista di Cristina: un affascinante mondo in continua evoluzione che al profano può in diverse opere incutere un certo e profondo disagio.

E a tale proposito ricordo perfettamente, mentre fotografavo, le parole di un visitatore rivolte all’artista: “ Interessante e per molti versi impressionante e sconcertante!”.

Parole che a Cristina corressi con questa frase: “ Il visitatore ha sbagliato frase. Non è la mostra impressionante e sconcertante; ma lo è il contesto di dolore e di problematiche che hanno generato le opere! ”.

Per essere breve circoscriverò l’analisi alle seguenti opere, collegandomi sommariamente nelle citazioni ad altre: il poker di ritratti di “ famiglia ” ‘1992-2004’, Lucifero ‘1973’, Sposa all’altare ‘1975’, Ritorno '1977 ', The ancestor '1981', Awakening '1997 / 98 '.

Family portraits

Although the family portraits are almost in chronological order belonging to the latest productions, treat them first the importance that the subjects had in the sphere of emotional and educational ' I Cristina Roncati.

Ronchi is not for now, in my opinion, a portrait artist in the broadest sense, therefore, not expressed in these works an objective realism, impressionism, but a personal and intimate that shows what she saw the portrait subject is significant in relation to his life. My analysis therefore does not care about the personality of the person existed, but only to what is internally developed and emphasized by the artist's brush.

The first work that appears, enter on the left, the Forum is Boario My mother '2004 ', followed by three other portraits. My attention was concerned about a small detail seems insignificant: the frame. The other portraits, in fact, although there are no antecedents in time.

involuntarily and without intuit the Roncati gives this portrait of paramount importance and a particular affection and indelibly framed in his expose.

portrays a woman on a purple background (color of grief) in the years ahead, his face in pain, in an apathetic attitude of those who see but do not fully understand the reality, and his eyes almost off, characteristic of advanced senility when the clarity diminishes.

wearing a robe with colorful flowers (symbols of life) on a dark / blackish (the color of death and oblivion), some 'eccentric for his age, but still very pretty. Below, a green shirt (the color emblem of life) to draw 3 cards above diagonal: the pic above, the heart at the center and the bottom panel. Comparing the three cards of the Tarot scale 40 could translate as: swords, cups, money. It is no coincidence, just beyond, the exhibition, there are the four representations / Tarot women '1975 'on grandezza naturale.

Manca la carta di bastoni, quella che indica il castigo e la penitenza, caratteristica non consona ad una madre.

Nella semantica della simbologia criptologica (criptolalia) spada / picca indica il dolore, non solo quello fisico della malattia o dell’afflizione, ma pure quello del tempo che corre inesorabilmente verso la fine ultima: la morte.

Il cuore / coppa indica l’affetto materno e l’amore, essence of life. And for some, especially if instinctual, the heart is the sensuality, and thus indirectly also mainly to sex, and procreation.

The framework / money the potential of being a person in that production, progress and grow is natural in every human being.

The artist could portray the mother in the splendor and beauty of maturity, however, has portrayed the length of service in practice painting with her mother's future in an unconscious transference.

Roncati In the works of the suffering in life and the obsession of death occur continuously, both in their early youth works mythical character / esoteric ( Woman / Animal Dance , Embrace , Daphne , Ready for flight , The wolf '1971-72 ') in major compositions statuary, or small bronze (various Knight Apocalypse , Back , Winged horses '1973-85 '), both in the long series of veiled women or wrapped '1975-95 ', both in the later works (Alice '2004' and Holy / The buzz / Life '2010 ') and in those portraits own that mark much of his production ( Shroud , Bride altar '1975 ', the ancestor '1981').

My father '1992 'immediately after the mother's portrait.

indicates maturity in a man who looks at you with seriousness and authority, with loving attention, both serious and took the father role by fretting inwardly that you can not be helpful since departed and is on a background of a sky streaked to ranging from cyan to dark blue (color synchronous afterlife / heaven).

wearing a black jacket with white shirt and tie.

The portrait expresses a parent extinct, much desired in need for his father's role of advisor and head of household.

Tino Pelloni '1994 'is a hypothetical wise grandfather, useful to the teaching profession, the meaning of life and values \u200b\u200bin which to grow, not only able to defuse a major event, but also to find this in the beauty of life.

Francesco Arcangeli '1992 'is not by chance coincides with the year of composition of his father's portrait and the painting has much in common: the color of the jacket, the shirt and background. This means that he too died prematurely from the expectations of the artist.

Theoretically, following the unconscious artistic Roncati, with the portrait subject you must be a great feeling, as well as a report / deep affection despite the diversity of age.

This is apparent from this apparent heart colors painted on the top right, on mo 'passionate input and insert semen of his subconscious.

Man, some of which would replace the father's role (the installation, reliability, appearance and authoritative look) still has some interesting features that highlight the complex issues.

Unlike the appearance of the father is looking grim, especially right in the eye, as if the subject was sometimes prone to anger, and combing very boxy, almost haunted. The attack nasal contain a short line parallel brands, nostrils dilated slightly and the jaw is almost locked in a grin: properties of a subject can mentally unstable and volatile and paranoid.

denotes, however, a remarkable culture and self-confidence. The bust is a square, stocky man.

His relationship with the painter should not just be artistic and professional, but probably coinvolgeva il complesso di Elettra .

La gola riporta un particolare interessante: una netta linea nera, parallela al collo della camicia, che è assai marcata alla dx del soggetto e più sfumata a sx, quasi un netto e profondo taglio di ferita, forse il frutto di un violento desiderio inconscio e represso.

Credo che possa indicare un dicotomico rapporto istintivo assai tormentato tipico dell’amore/odio e della gelosia, perciò non affatto ragionato e intellettualmente controllato.

E tale rapporto ha condizionato culturalmente, a mio parere in modo parzialmente negativo, la Roncati nella sua formazione/artistico culturale, pur arricchendola in un’ambivalente sfera affettiva

La figura paterna ha connotati spesso controversi nella persona umana e ancor più in una giovane donna che non ha ancora raggiunto la maturità. Ondeggia tra i connotati del totem e quelli del tabù ; totem quale punto di riferimento decisionale e protettivo, tabù come aspirazione di affetto profondo, di predilezione e quasi di possesso individuale.


The composition portrays the author and the title is emblematic of the mood of despair and sorrow in which he was Roncati.

There is a dark angel on a red fire, in full respect of the character indicated in the title.

Lucifer was an archangel of mythology Jewish / Christian: the first in importance of the archangels, celestial class second only in importance to God.

Fire indicates damnation, the black despair of the sentence.

Lucifer, however, is in una posizione particolare, come se stesse, ipoteticamente, nell’atto di precipitare agli inferi dopo la cacciata di Dio.

La Roncati, tuttavia, lo ritrae in posizione eretta, cosa inusuale in un corpo umano in caduta libera da distanza siderale, giacché la testa, essendo di peso il 35% in media del corpo, dovrebbe far rappresentare il soggetto capovolto durante la caduta.

Le ali/mani, hanno infatti le piume rivolte verso l’alto, come se l’attrito del precipitare le rivolgesse naturalmente in su.

Le pieghe dell’abito, tuttavia, indicano una naturale propensione al basso, property submits to a body erect.

This impression is further highlighted apparent From the wide sleeve of his left arm (assuming that the subject is a natural observer front) facing in its downward fluctuation.

It follows that the subject, apart from the deviant position of the wings, is a very different attitude in the dash to the underworld.

head thrown back and looks at his left, pointing up the search for a reference point and forgiveness, God, happiness, salvation.

arms / wings raised in supplication to the sky. The body wrapped in torsion as pain. Feet slightly apart for stability and safe in the final perspective, with a flexed position, the take-off upwards, almost ready to catapult your body into the sky.

Lucifer is a being in deep despair and absolute begging, suffering and curse at the same time.

A being who recognizes their status in part because it has deliberately sought or pursued.

At the beginning I stated - as I said to Christina - she has portrayed herself as a mythological symbol.

This is entirely plausible if you connect it to Lucifer unmade bed, Shroud and bride at the altar, all of 1975.

bed, while silver (color of earthly desire for happiness) indicates that in that bed there is a couple, but one person with itself and with its own disappointments. The sheets and blankets, in fact, raised only on one side, that side from which the person is gone.

And the napkin, in his guise as a female due to afore breast, her head surrounded by a large crown of thorns, while the shroud face released by the forehead and eyes bright eyes watching you from the depths of their cavity, immersed in their great and immense pain.

Bride altar

Yet this piece is a portrait of Roncati.

The arts complex is all black (and anachronistic for funeral a marriage) is in the color of clothing, both nell'inginocchiatoio.

The dress seems all'inginocchiatoio supported, but in fact under the wise and elegant folds of the fabric you see a slender body existent, even when soaked with doubt and pain.

The body has the right arm with his gloved hand, abandoned and lifeless on the bench top wedding, the kneeling position, lying in the upper torso forward as if the bride had fainted.

The impressive and important collar is toppled down, as if to mimic a hair abundant that concealed his head.

not see any head as he sensed the dress is perfectly under his arm left the body on his knees.

I believe that all is well the mood that the artist expresses this in dubious expectations, tragic ceremony: that of the great anxiety and insecurity, worthy of a classic Greek tragedy.

summarized into a marriage almost inner strength, a husband suggested but not required in full, the perception of conjugal love is difficult, perhaps impossible, to build, the absence of a father figure able to intervene and stop with authority, insight and advice to such a massacre inside a huge procedural error.

The suffering that transpires from this composition is not only attributable to the mood quota, but also to the union that often unwanted and phobias suffered by the emergence of a social stereotype often bring with them physically and inwardly : a temporary sexual frigidity, suspended ovulation, fecundity may be impossible and the terror of being physically abnormal in their sexuality, requirements that the exact point of transition - marriage - From dream to reality require the doubt of being able to be up to the task set and ready to inner revolution's own self development.

Marriage is a goal and an adolescent point of departure design.

His existential dichotomy lies in that forced her to be a crossing point between the desire and the dream of building the project. It follows that carries with it quell'apprensione possible mistake or inadequate staff to project into a new world, only suggested and not yet known, the point of transition between protected e ovattato mondo dello sviluppo e quello costruttivo della realizzazione.

Viene pertanto visto, e talora subito, come una via del non ritorno, con l’assunzione di responsabilità, impegni e doveri che prima erano propri di altri e che, come tali, incutono sicuramente un certo timore.

Il terrore di sbagliare attanaglia l’intimo e può creare dolorosa angoscia. Quell’angoscia che la Roncati “ canta ” con la sua opera sulla vita.

Parallelamente a quest’opera potrei collegare The nun of Monza '1973 ', whose dress, nearly abandoned on a chair, Tenuate brings out a slender body hidden in the soft movements, but always with no head.

And the story of the fate of the hypothetical bride to the altar and the nun of Monza is intertwined in their agonizing fate that the history of literature and existential reality handed down to us, covered often by tragedy.


Nelle opere della Roncati i cavalieri, più o meno apocalittici, sono di casa e assai numerosi.

La sua adolescenza deve essere stata assai ricca di questi racconti popolari, apprezzati e in parte temuti dai bambini.

Ritorno è un punto di arrivo della Roncati, quello che idealmente completa e chiude un ciclo della vita: quello dell’angoscia, della dura prova esistenziale, dell’apprensione, della non conoscenza della vita, quello dei lutti affettivi non solo materiali ma pure interiori, quello della fatica dell’andare avanti, del realizzarsi e dell’affermarsi, quello del non vedere chiaramente il traguardo prefissato, seppur agognato, del sentirsi almeno parzialmente realizzati.

Ritorno potrebbe essere benissimo il prodromo del suo essere artista e donna, dove Visita alla novizia ‘1976’, appunto come tale, indica l’avvicinarsi della fine di un “ noviziato ” artistico e umano del proprio essere persona.

Avvicinandomi all’opera, che giudico una di quelle maggiormente indicative e basilari della crescita umana di Cristina, mi sono dilettato, nel fotografare, a dare “luce” col flash al volto del cavaliere: un volto anonimo e irriconoscibile che comunque sotto le spoglie del drappo che copre integralmente la testa, mostra la luce che illumina la vita, pur nel buio della fatica e dello sconforto.

Il cavaliere non indica la devastazione e la morte, come i primi cavalieri dell’Apocalisse, bensì l’artista stessa che con il titolo perfetto dato all’opera esprime, in un inconscio più o meno percepito, un punto provvisorio di arrivo: la casa ritrovata e vicina, perciò il cominciare a vedere il proprio senso della vita. Una traslazione voluta tra l’essere stato e il proprio divenire che si sta manifestando sempre più clear.

The whole horse / rider is very beautiful in every detail, further enhanced by the expert folds of black cloth that wraps and big plays, exalting them, the details of both the horse and rider: the horse is the life of Cristina (or any person on the way), the rider herself.

The rider has a helmet / shroud is very light, so detached and different from the heavy cloth that covers the rest. A helmet / shroud and light weight allows you to see the way you are doing.

The glow Flash highlights a set ascetic, almost meditative, but has laid low in his analysis of gait and rider.

The pace of the sculpture is slow, almost solemn, even if proven by fatigue tests of life and seeking to find itself, so its natural environment.

expresses the tenacity of going always forward, the abnegation of duty because of the perceived exactly the right pace, the suffering that life creates for our choices more or less desired, the absence of initial existential reason that with the passing of the years and events however, a sense of life and suffering, the constant search of a roof under which his family and final return to repair and restore themselves to other new challenges, a purpose which weakens in the search but then, in the joy of seeing the perfect neighbor, is change in the alternative, the great difficulty for the commitment and efforts suffered.

The ancestor (portrait)

Roncati For the first time shows its face: the face of a woman.

The head is still covered with a veil, but her face shows a real person and not evanescent.

The abundant number of veiled women does appear, in funereal veils, harmonious and sinuous, almost an elusive woman herself and the observer (Royal Society) able to conceal himself in a soft drape and exciting, but to be elusive and evanescent in the hypothetical real existence, both in the joy of inner beauty, both in the agonizing pain of twist.

A woman who almost played hide and seek in his lament and dismal shooting - About it I remember the short movie showed me that Cristina's theatrical performance on a youth - now enhanced by acute, now emphasized by slow and subdued sobs, almost frightening in part to show their true essence of a woman in search of their completeness : a woman who almost welcomes the tragedy that lives and the world upon himself.

For the first time, to discover themselves, the artist becomes People and individuality, so the person who, in the diversity of their own existential and gait, agrees to get in the game and on a par with other, with open face (open) even with all the possible limits that each person can have.

Ancestor is the exact definition, perhaps unconsciously, not included in the overall social meaning: a woman who is the ancestor of itself, so that takes its course before existential, looking at which discovers that the great suffering of the proceeding, due not only to itself, but also to all those male stereotypes, social and family who have partially constrained in their growth in life.

Iter whose memory still makes the complaint and contraction; is the pain of a life spent in the inner pain instead of happiness, joy, burdened by a frantic search for balance and physically prostrante existential and emotional stable and secure.

A white veil, and no longer black, covers her head and frames the face. Face partially concealed in the forehead by a lock of hair left over from combing the desired time, the convection, the cultural background and the emotional relationships have virtually imposed.

copying terracotta gloss (the example of the art of glazed pottery Lobbie ) enhances the contraction is more face and mouth, open to a bleak and tragic lamentation deep, and painful than the weeping eyes narrowed and lowered between the uncontrollable tears and restless sleep, more exalted.

features that still carries with Cristina in its overall look and facial hair that frames her face again, in part by hiding the total potential beauty and personality still ongoing "journey."


is the work which gives the new course not only for artistic expression of Roncati, but also his inner life.

The subject is totally relaxed, but intense almost to his feet.

Intent, I said, because the act is figurative, just one that goes from deep sleep to semi-consciousness that anticipates the revival, but that, nevertheless, make the final sleep in the various tasks that await him in the day.

The face is completely uncovered and the partial veil of neck, hanging on his shoulders, it is more a thriving hair instead of a veil.

appearance denotes peace and contentment, his mouth slightly open as if in search of a new sensual kiss.

The person pursues happiness, with that inner joy that gives him a night's rest to the labors of life, though expensive in the sacrifice of dedication, but often necessary for its internal realization.

pain and affliction are outdated and behind the tragic aspect of life has disappeared, serenity, even if not fully perceived advances in the minds and hearts, despite the perception that life there will only ever rose.

Cristina has not only awakened, but is risen from the shroud that was!

This decade (related work) has led the artist to the studies on personal movement, as if in search of an existential and emotional stability which reaches its climax with the first harmonic movements '1994 / 95 ', and then pass by you and the collar , Queen of the harvest '1997' and various Step and then ending with The Ball Game, and the weights you '2000 ', where the human figure began to implement a stable and joyful daily existence.

is enhanced not only by 3 family portraits - previously covered - but also by the explosion of colors that show a joyous and fascinating world that is emerging, just the series Tenerife '1992 ', as opposed to anarchy and visual composition of Animal burning e di Il cielo si accartoccia ‘1985’, oppure dalle colorate ed esoteriche figure di La sedia della malia ‘1985’, Quando gravita il pensiero e Diavolo vestito di viola ‘1986’, opere a cui va aggiunto Omaggio a Fidia ‘1991’, dove il sangue sulle vesti candide accentua quella “ decapitazione ” soggettiva di un mondo interiore che fu, non dimenticato ne rigettato, ma semplicemente riconosciuto.

È da notare che l’estro artistico of Roncati had also previously a big leap in artistic compositions on the seasons Summer, Fall '1977 'and Mary Magdalene in the closet '1979'.


The Roncati sings the life and poetry that sings in the maturity and experience have gradually won.

His current pace, even among youth revisionism artistici e nuove vie, si è incanalato nel filone della composizione realista e sensuale, dove la sessualità, spesso ostentata, tende a rivestire un aspetto ordinario della vita quotidiana.

I vari soggetti delle opere cominciano ad essere colorati, spesso sbarazzini e infantili, limitati da imperfezioni, da vizi e da malattie, ma emblematici della nostra società: Alice ‘2004’, La giustizia ‘2004/05’, Venendo dall’est , Il ventaglio , Togli il grembiulino rosso ‘2005’.

These people are on a par with the perfection of sensuous works more challenging, such Minerva / Goddess / Women and Venus revolver '2008 ', although sometimes the mythology back bully in her glazes with Queen of the woods and Holy / The buzz / Life '2010 '.

The artist sings his life, and with it the world's women: the common life of every day full of joy and sorrow, projects and disappointments, ups and downs, stereotypes and roles that limit and constrain the liberty of normality and excitement, success and disease, an inner well-being necessarily a life that rewards hard-working, living and ... of death.

totally lacking in his work references those religious / cultural, if not larvatamente and translation, an array of popular culture can give meaning to life eschatological and Eleusinian, esoterism and supplanted by the legendary, but the reason for this should be sought in that substrate impregnated cultural nihilism sometimes and ceilings of their land.

not for nothing in those works is the lack of differentiation between gift and present, between making love and sex, between sensuality and sexuality, existential and behavioral dichotomies that often lead the individual to say as I actually own the individual as objects to be your priority.

Roncati In my view, have much to say artistically and culturally, especially in expressing the happiness and joy of living that is made manifest by the faces or fulfilled by nature, just as Awakening enhances the search for love in the kiss, the repetition of gestural unconscious desire.

The song of life becomes harmonious and poetic when it pours in the other (who) implemented their own inner joy and satisfaction of being themselves in being people.

This can not happen in a face veiled or partly limited, because then the inner beauty is sized and almost separate from reality.

Under a veil, for example, we can put a beautiful statue, male or female, but the person who sees it and wants to make love turns out the trick when, stripped naked, is not a person, but only a cold, even if artistically valid object, which is unable to communicate the feelings and actions taken: The totally self-giving.

The beauty lies not in the object (or subject), but the viewer is able to enhance their mutual consent. He is not afraid to show it to exist does not need general of assent.

Maybe that's why some of his latest works can be configured (look at the outset) as caricatures claunesche or as court jesters.

And the beautiful, love, is precisely that value which the spouse, in his donation of torque, taking the luggage interior of the other highlights: a continuous process that never ends, based on that inner communion and culture that continuously improves and enriches the couple and with this the other.

A philosopher said that beautiful women willingly allow themselves to men without imagination . Just because the beauty lies in our knowing how to identify and evaluate, as well as strengthen and enhance operational, the characteristics of others.

Unlike artificial beauty is a facade that is unnecessary, and Finally, that leaves us indifferent.

The beauty is not what you say is the most "oooohhhh!", Making it gape for the simple fact that the work has already been trumpeted far observed, because then the perception will be spoiled by culturalism mass.


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