Filippo Rossi. Article Mariano Apa, La Rocca, 15 September 2008, Assisi.

ROSSI .Mariano Apa, La Rocca, 15 September 2008, ASSISI.

Pilgrimage to the Sacred Mountain of Varallo is, in our current ones based spirituality montiniana, with the memory of Archbishop Pasquale Macchi and Floriano Bodini. The legacy of the Catholic Reformation, the scaffolding strategically prepared to involving existential, emotional, cultural, religious and faithful of anyone approaching the work remains intact as its disposed between painting, sculpture and architecture, he decided a total artistic space . That as a whole aspires to be analog liturgical rituals. In this provision, which requires art to be sacred in the iconography and liturgy in the value of pastoral and ritual involvement, rest, even more, signification montiniana of making art, of disposing the aura of the liturgical movement with Montini in dialogue with Herwegen and Casel. This variant of the Monte Varallo montiniana the eyes, helps us to enter the interesting fact of the manifestation of Imago Veritatis, which St. Anselm with the Association in June, has kept "The ascent to Christ. Art of the Sacred Mountain yesterday and today ", for the treatment of Lucetta Scaraffia, Timothy Verdon and Filippo Rossi, which, respectively, are to catalog operations in the event (edited by Imago Veritatis and Spacing Editions):" Art as spiritual experience "(Scaraffia)," Sign of the cosmos image "(Verdon) and" At the heart of the Crucified 'by Rossi.

The young Filippo Rossi - Florence, 1970 - One should not only intervention but also an essay in the catalog to show the figure in contemporary cultural and artistic vision of the Church of the Holy Mount. Indeed Rossi moved in the speech of abstraction as the traditional masters of the Florentine and school dell'Annigoni, because of Vignozzi at the Academy, and the way through to Annigoni Stefanelli and Elijah. If the figure of the old master narrative twentieth-century courtly and helps support the syntax of composition - syntax that is also capable, by Filippo Rossi, geometrize materials needed, a geometry that is the sacred canon of composition and since the Church 's work -, places in this syntax an invasion of gesture and balance of material phenomena logically interpreted in the light of orthodox calligraphy as iconic. The fourteenth-century Florentine gold as inheritance is stuck with the golden leaves of orthodox icons, everything is on the rise since postinformale materiality of timber deposits subjects show a breath Informal European fautriano mold or some Bendi ni-resolved, however, due to material and not because of fog. Rossi insists the materiality of the material used in painting, because he wants to say in the translation of transcendence, of sublimation as the reality of gold, who then recalled the orthodoxy but will undertake to show the figure of contemporary spirituality, being linguistically Rossi is committed to building a sacred painting as painting of existentialism of the sacred. The work of Rossi, then, critically, linguistically, will accede to the sensibility of contemporary montiniana with which we read today the Sacred Mountain of Varallo, joining the Council of Trent to the Second Vatican, and thus recalling three decades after his death, the Pope's speech to artists in the Sistine Chapel, May 7, 1964.