Anna Bolognesi was born in Cremona where, as a young girl, she begins to draw under the guide of valuable Masters such as Mario Benedetti, with whom she studies nude, and Giorgio Mori for painting techniques.
She used to live in Bergamo and Rome; this allowed her to broaden her formative horizons and to attend wide and incentive milieus. In Rome she has been working 20 years long with masters and colleagues of the Roman school and she obtained flattering agreements.
From 1976 onward she exposed her works at many personal and collective expositions and took part to a number of prizes, even of national level, winning or obtaining very good placings.
Back to Cremona, she soon made herself appreciate by a large public even thanks to drawing, watercolour and oil labs which year after year have been forming a good deal of artists and amateurs.
Anna Bolognesi’s creative path, of an unusually lyrical tone, follows three subject-matters: figures, objects, landscapes. Her wide and thick stroke, quick and loose at the same time; her dense and doughy colours, well balanced though the use of loud and brilliant tints; her harmonious use of contrasts to build up the alternating volumes: to stress all these characters Bolognesi uses lights in a totally personal way, creating the figure through light strokes she gets directly from colours.
Anna likes feminine figure: she studies and draws her subjects from life, then paints them on canvas or wood. Watching her landscapes, instead, the first word coming to mind is “impression”: impression of a landscape made of impelling, chaotic strokes, though ordered to build the painting at the end; impression of flowers, harmonious and warm; impression of woods and thick grass meadows, colour spots close one to the other which do not describe, but build, evoking visions the spectator already knows, and is able to recollect them in the mind thanks to the eye that, more than vision, is the instrument of memory.
Anna Bolognesi paints everyday life, made of shoes hanging up on a nail or displayed on Saturday’s market bench; an everyday life made of bottles, or of the shop windows of her town. She loves glass: colours, reflections, transparency effects and plays of light bouncing from a bottle to another, then to the table, then to the wall behind. Window lights, street lights; warm lights of yellow lanterns, cold lights of blinding neon; objects displayed in windows which seem to vanish into steams of bouncing and fading lights, through glasses reflecting the street and hiding hot and smoky interiors. Reality and imagination with a deep taste of poetry.