AlbertEnz Monograf final

ARTIST'S
MONOGRAPH
ALBERT
ENZ
Art poetics
between travels and visions
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4

ALBERT
ENZ
Art poetics
between travels and visions
5

SUMMARY

Artworks
42 - The Coast: Analysis of three works between meaning and technique
48 - Landscapes: a return to Cézanne
52 - Echoes of Futurist Art: New York
54 - In the heart of the earth and in the heart of our soul
62 - Conclusions
63 - Special Thaks
64 - Bibliography

INTRODUCTION
How important is it to conduct artistic research on contemporary artists?
I see many artists participating in excellent events and publications. I see
many artists painting, creating, experimenting, but the problem is that very
little is known about these artists: we know about their current activities and
their present time, but it is rare to read about their artistic roots, albeit implicit.
It is essential for an artist to be contextualized within past art. Researching
sources means historicizing the artist, officially placing them in the
history of art. For this reason, conducting research is important. The Artist's
Monograph aims to provide space for one artist, to study their art, style,
subjects, and significance. It is crucial to be farsighted and recognize the
true value of that particular artist. This art monograph is entirely centered
on an artist who immediately captured our attention: Albert Enz.
His work is a literal fusion of memories, emotions, and travel recollections.
Albert Enz's works are an inner narrative and a marvelous feast for the eyes.
We have diligently studied the art of Albert Enz, tracing multiple similarities
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Albert Enz - Art poetics between travels and visions
and artistic sources in his work: Cézanne, Alberto Burri, and echoes of Futurism
in some of his artworks. A lot of attention has been focused on color:
Albert uses color in an incredible way, and as an artist who moves between
abstract and informal styles, color becomes a tool to convey his message.
Albert Enz has shown great artistic coherence over the years: evolving, experimenting,
while simultaneously maintaining solid elements of his style.
This publication will initially delve into the artist and his style, without neglecting
any fundamental aspect. Finally, we will analyze some artworks, highlighting
significant characteristics of his painting style and underlining
certain peculiarities reminiscent of the great Masters of the past, confirming
Albert Enz as a Master of contemporary international art.
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INTRODUCTION TO THE ARTIST
ALBERT ENZ
Albert Enz is a contemporary painter who can be regarded as a Master of
the present. In this art monograph, our intention is to trace his roots in the
art of the past, attempting to contextualize him in the current art scene and
to historicize his contributions. The trends into which we have placed our
Master are Post-Impressionism, artistic avant-gardes, and Informal Art. The
key points of the 20th-century artistic avant-gardes can be summarized
briefly as follows:
1.Reinterpretation of the surrounding world through one's emotional sphere.
2.Break from academic tradition.
3.Representation of subjects through vertical and horizontal lines.
4.Use of color as a medium for representation.
These are the aspects that we particularly seek in his works. As is customary
for any respectable editorial work, it is important to provide all biographical
and career-related information.
With pride, then, we introduce you to Albert Enz.
Enjoy your reading.
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BIOGRAPHY
Albert Enz was born in Switzerland in 1943 and lives in France. He studied
Chemistry and Biochemistry. During his scientific work as a researcher in
the pharmaceutical industry, he always followed his path as a self-taught
painter.
Albert Enz’s paintings want to unleash the magic of imagination. The magic
of the pictures should revive the dreams that slumber in us since childhood.
By looking at the pictures we listen to the stories of our inside.
Albert Enz became involved with painting at a very early age. Colors have
always fascinated him. After studying chemistry and biochemistry, Albert
Enz worked successfully in pharmaceutical research in the field of neurochemistry.
He never gave up painting on the side. In the sixties Albert Enz
studied and worked at the Goetheanum, a School of Spiritual Science for
Anthroposophy in Dornach, Switzerland. He was occupied with the color
theory of Goethe, the metamorphoses of plants, as well as language design.
At the same time Albert Enz worked as an actor in an experimental
theater in Basel. Albert Enz is an artist who works with acrylic paintings from
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Albert Enz - Art poetics between travel and visions
his studio in France. He also values the creative process of making art, focusing
on the process rather than the outcome.
Albert Enz is an artist with a passion for painting and the power of acrylic to
vividly illustrate the stories of his dreams and memories. His works, driven
by emotion and strongly emphasised by the vibrant colours he chooses to
use, are a testament to his expressiveness. His bold techniques and colour
choices align the observer with the very depths of the human soul, guiding
them on a journey of exploration and discovery. With his passion for painting
and dedication to his craft, he has produced unique artworks that stay
with the viewer long after it's been seen. As he paints, his love of the abstract
and the unknown relentlessly propels him forward to find a more meaningful
expression of his innermost thoughts and emotions. Thus, he embarks
on a unique and dreamlike exploration of his memory, fuelled by his desire
to capture his audience and ensnare their emotions. His works evoke strong
and intense emotions, as a result of his use of vivid, powerful colours that
demand the viewer’s attention. He aims to create a world that is unique
and full of life; a land where spectators’ dreams are explored and are granted
newfound possibilities.
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ARTISTIC CAREER
Membre de "l'Académie Européenne des Arts France"
Membre de "Abstract Art Academy – Art and Med", London et Freiburg
International Certified Artist: The International Institute for Artist Accreditation
2008 Credit Mutuel Waldighoffen Ht.Rhin France
2009 La Cité de l'Art et Décoration Lutterbach Ht,Rhin, France
2010 16e Salon des 40, Saint-Louis Ht.Rhin, France
2011 Universitäts Klinik Augenspital Basel, Schweiz "Plaisir des yeux:couleurs et formes"
2011 Office de Tourisme-Maison Communautaire du Jura Alsacien, Ferrette,
Ht.Rhin, France,
2012 Marziart Internationale Galerie Hamburg,Gruppenausstellung
2012/13 Zytloos Creative and Art Gallery Café Basel
2013 Galerie KUNSTpART Spalenberg Basel
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Albert Enz - Art poetics between travel and visions
2013 19e Salon des 40, Saint-Louis,Ht.Rhin, France Gruppenausstellung
2014 Coeur multi art, Issenheim,Ht.Rhin,France Gruppenausstellung
2014 20e Salon des 40, Saint-Louis,Ht.Rhin,France Gruppenausstellung
2015 Galerie Altoé Wittersdorf, Ht.Rhin, France, Couleur et formes
2015 L'Art au coeur de l'Europe Illzach, Ht.Rhin, France Gruppenausstellung
2016 Basel Art Center, Basel, Schweiz, Gruppenausstellung
2016 L'Art au coeur de l'Europe Illzach, Ht.Rhin, France Gruppenausstellung
2017 L' ART BÂTIT DES PONTS 3ème Grande Exposition internationale des Beaux-
Arts NeufBrisach Gruppenausstellung
2017 L'Art au coeur de l'Europe Illzach, Ht.Rhin, France Gruppenausstellung
2017 Salon International de la Peinture et Sculpture de Zillisheim, Ht.Rhin France
Gruppenausstellung
2018 Art Connects Switzerland & Slovakia Hotel Euler Basel, Gruppenausstellung
2018 L'Art au coeur de l'Europe Illzach, Ht.Rhin, France Gruppenausstellung
2018 Salon International d'art 2018, Galerie Nesle, Paris, Academie Européenne des
Arts-France, Gruppenausstellung
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2018 Salon International de la Peinture et Sculpture de Zillisheim, Ht.Rhin France
Gruppenausstellung
2018 Exposition International Artistique/Internationale
Kunstausstellung „Les Galets“ Chalampé France exposition collective
2019 L'Art au coeur de l'Europe Illzach, Ht.Rhin, France Gruppenausstellung
2019 "Immagini&Sogni" Galleria ARTtime Udine (Italy) mostra collettiva internazionale
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Nature is not only all that is visible to the eye…
it also includes the inner pictures of the soul.
(E. MUNCH)
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CRITICAL ANALYSIS
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POST - IMPRESSIONISM, ABSTRACT ART
AND INFORMAL ART
Post-Impressionism, Abstract Art, and Informal Art are the artistic trends in
which one can trace the sources and similarities in Albert Enz's painting. As
we will see, there are numerous ideological and representational resemblances
that Enz shares with Cézanne or Alberto Burri, even sharing color
theories with Wassily Kandinsky.
At the origins of Contemporary Art, there are the revolutions of two great
artists, Manet and Cézanne, who initiated what would become a significant
shift in art. With Post-Impressionism, whose active artists were Seurat, Van
Gogh, Gauguin, and Cézanne, the boundaries of Impressionist art were surpassed,
paving the way for subsequent artistic revolutions. Remember, in
fact, how Monet, in particular, was already an artist engaged in experimenting
with the effects of light and their representation through color, gradually
moving away from excessively sharp forms.
The freedom of color became a manifesto of Post-Impressionist ideologies,
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Albert Enz - Art poetics between travel and visions
just as the freedom of content became a manifesto of all contemporary
avant-gardes. Abstract art was a movement that emerged during the 20th
century, breaking away from the figuration of past artistic currents, academic
and traditional art, favoring greater gestural and emotional freedom.
The earliest forms of abstraction in art emerged with geometric and lyrical
abstract art, such as that of Kandinsky or Mondrian. Through abstract art,
new visual forms and artistic ideologies were adopted, which certainly
paved the way for subsequent 20th-century artistic movements. Initially,
more traditionalists somewhat rejected this rebellious renewal. Color and
form were elements that received particular attention.
I want to mention Futurism here, for example, which was born in Italy around
1909 thanks to its founder Filippo Tommaso Marinetti. Dynamism, speed,
and opposition to tradition were key points of the Futurist manifesto. Drawing
from stylistic languages of Impressionism, Cubism, Expressionism, and
Divisionism, the Futurists developed their own language that abandoned
the static nature of representation and content. Backgrounds were connected
through lines tending towards abstraction, where force lines traced
in pure and strong colors filled the support, giving life to a renewed painting
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(1). Another trend I want to focus on, which will be instrumental in tracing
and contextualizing Albert Enz, is Informal Art. In 1951, Michel Tapié employed
the term for the first time. More than an artistic movement, Informal Art was
a different approach to representation in painting. Born in the post-war period,
humanity as a whole, including artists, was deeply marked by dark,
sad, and painful feelings. This pain, probably out of necessity, was represented
in a new way, which also revealed a harsh critique of form.
It's interesting to note how the works of these artists were a perfect expression
of limitless liberation, emotion, spontaneity, and narration. In terms of
painting techniques, they also differed from traditional ones: the use of spatulas,
brushes, everyday objects, dripping or spraying paint was frequent.
In this way, the artistic process transcended the boundaries of creativity,
combining emotion with gesture. Albert Enz encompasses much of this history,
starting from Post-Impressionism and reaching Informal Art, evident
in both forms and colors, as well as content. Albert Enz's freedom is the
meeting point of all avant-garde philosophies, where the implicit representation
of the soul and emotions predominates.
1 - Martin S., Futurismo, Taschen, Kòln, 2017, p.15
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ALBERT ENZ FROM CEZANNE
TO ALBERTO BURRI
Paul Cézanne (1839) was born in Aix-en-Provence. An artist who marked
the beginning of a new era in art, he is remembered as one of the early
pioneers of contemporary art.
The title of the paragraph that references from Cézanne to Burri might appear
somewhat misleading. However, Albert Enz's art indeed holds numerous
similarities, especially with the former artist, along with certain
references to the latter in specific works.
Cézanne's method of painting was highly reflective and logical. He distanced
himself from the Impressionists' approach, who represented on canvas
what they saw, in favor of a more structured representation.
Cézanne synthesized the forms of nature into geometries; according to him,
nature itself was a geometric architecture composed of cylinders and
spheres. In this sense, the modulation of color was crucial, rejecting flat
structures. As Cézanne expressed, "Color is the place where our brain and
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the universe meet." As noted by Giuseppe Di Giacomo in the editorial work
"Arte e modernità" (2016), colors don't aim to faithfully imitate nature's hues,
but rather generate their own materiality and structure. (2)
For Cézanne, who, as mentioned, diverged from the Impressionists, his nature
isn't illuminated by reflections born from chromatic modulation, but
rather nature itself emits light, thus expressing solidity. (3)
Di Giacomo further explains that with his representation of the Montagne
Sainte-Victoire, Cézanne establishes a connection with the object, offering
the spectator the same opportunity to engage in a dialogue with the depicted
mountain. Cézanne portrayed Sainte-Victoire many times without
ever succeeding in providing a single, definitive image of it. (4)
Everything Cézanne experimented with is indeed discernible in Albert Enz's
paintings, particularly in the landscape works depicting mountains and
coastlines. Unlike Cézanne, who offered multiple visions of Sainte-Victoire,
Enz has actually presented numerous mountains and coastlines, thus creating
a collection of world fragments that appear similar, demonstrating the
universality of nature and the human-nature relationship.
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Albert Enz - Art poetics between travel and visions
Albert Enz's sources are particularly traceable to this early painter and later,
due to color modulation and the presence of pure color itself, also to abstract
and informal painters. But why Burri? Enz's body of work isn't solely
comprised of mountains and nature scenes, but also includes numerous
melancholic reflections and chromatic experimentation, resembling that
of Alberto Burri. Burri's 1954 work "Il Sacco" seems to underpin Albert Enz's
"Fenetre vers la mer" (2019). Though highly distinct in terms of color, the geometric
structure and arrangement on the canvas are strikingly similar. Enz's
palette also mirrors Burri's, with the presence of more neutral hues like sand
and brighter tones like red.
The timeline stretching from Cézanne to Alberto Burri spans over a century.
Albert Enz has thus assimilated, at times even involuntarily, the most important
and intriguing legacy of Contemporary Art, positioning himself as
a present thread connecting our past to our future.
2 - Di Giacomo G., Arte e modernità. Una guida filosofica, Carrocci Editore, Roma, 2016, p.49
3- Ivi, p. 47
4- Ivi, p.49
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COLOR IN THE ARTWORKS OF ALBERT ENZ
Referring to Cezanne, Paul Klee stated, «Color is the place where our brain
and the universe meet.» The history of colors is a very ancient, complex, and
structured tale. Even with Aristotle, color began to be understood as an architecture
of perceptions and suggestions, an instrument of expression,
and a symbolically rich element. In this regard, the reflection of Manlio Brusatin
(1943), a historian of arts and architecture, is interesting, where he affirmed:
«Based on every consideration regarding the nature of color (chroma and
pharmakon), Zenon of Citium's synthesis, transmitted by Plutarch: 'colors
are the first schematics of matter,' tends to indicate the concept of chromatic
sensation within a well-defined boundary between matter and form,
and this formulation has passed from the master of Stoicism to spread
among Latin writers (...)» (5)
Over the centuries, color has been meticulously studied, assigning it increa-
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Albert Enz - Art poetics between travel and visions
singly precise meanings. Delving too deeply into the history of color is virtually
excessive in this context. This brief introduction should instead serve
to understand how Albert Enz's chromatic material is fundamental within
his works, as color becomes a vehicle for messages as well as a means to
give life to form. What emerges from Albert Enz's works is a chromatic material
that doesn't forsake brilliance; even the darkest and dullest color, such
as gray, manages to be vivid. Albert uses color as if it possesses its own life,
as if it were a principal part of his works, not merely a means to achieve the
conceived and represented form. It seems that for Albert Enz, color reflects
his thoughts and memories, a reflection of experiences that have left an
energetic rainbow in his soul. The lessons of great Masters of art like Cezanne,
Burri, or even Klee himself mentioned at the beginning of this text are
perfectly embodied in Albert Enz, who with extreme individuality turns chromatic
material into his distinctive mark. Albert Enz is the painter of color.
Precisely due to the power of color, Albert manages to forgo the definition
of line, geometry, and form. There is no need to create perfectly realistic
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subjects since color lends sharpness to form and adds an additional value
by expressing sensations and emotions.
5 - Brusatin M., Storia dei colori, Giulio Einaudi Editore, Torino, 2000, p. 19
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Albert Enz - Art poetics between travel and visions
THE EVOLUTION OF ALBERT ENZ’S STYLE
OVER TIME
In the aforementioned monograph, Enz's works are not presented in chronological
order but rather in chromatic or subject-based order. However,
one can generally observe the artist's evolution.
Enz has maintained and continues to maintain a particularly consistent,
unique, and identifiable style. Simply observing the works in their entirety is
enough to grasp how recognizable his visual signature is.
"This is an Enz," one could say when looking at any of his works, just as when
observing a Monet piece and affirming, "This is a Monet."
What becomes evident when analyzing Enz's works is that as early as 2012,
the artist began refining the representation of his landscapes: consider
works like "Paysage Jaune" (2012), "Toscane en printemps" (2012), "Paysage
de reve" (2013), leading up to those from 2021 like "Paysage ete Alpes."
The landscapes, while maintaining the same composition, seem to become
progressively sharper.
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Among the landscapes, Albert incorporates the representation of more abstract
geometries and forms dominated by blue, a period that began in
2009 and persisted until 2016. Here, a clear evolution can be noticed, which
moved from abstraction closer to the style of Cezanne, manifesting in the
realm of landscapes.
Albert's work has been a continuous experimentation that, nonetheless, has
remained consistent over time. He hasn't forsaken his own taste but has
opened himself to the new.
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Albert Enz - Art poetics between travel and visions
ALBERT ENZ IN THE CONTEMPORARY ART CONTEXT
In the contemporary art scene, Albert Enz is undoubtedly a master who seamlessly
blends with the current tastes, while steadfastly upholding the artistic
traditions of the past.
The recognition he receives from critics is readily apparent when observing
his career trajectory. Albert is a painter who is both renewed and continually
renewing, deeply engaged in his artistic endeavors with devotion.
The current state of art is decidedly more inclined towards abstraction and
emotionally charged content, both of which Albert reflects.
From both a public and private standpoint, we believe that Albert Enz's
works are worthy of appreciation, and his artistic value is of such caliber
that they may one day become true collectibles. We are convinced that
possessing an Albert Enz piece in one's public or private collection adds
substantial value, a value that will only grow higher in the future.
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ARTWORKS
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Fenetre vers la
mer,
80x60 cm, 2019

Window to the sea sunset, 50 x 70 cm - 2019
In mythology, the sea is a symbol of purification
and rebirth into a new life. The representation
of the window overlooking the sea
recurs several times in Albert's works, as if it
were a necessity to remember, a desire.
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Paysage e"te"Alpes (Arosa) 60x80 cm, 2021
36

Re"cif de corail
(Coral reef)
70x50 cm,
2021

Pieds s'echappent de l'eau, 80x100 cm, 2018
Artwork p. 38:
Rêve d'eau tropicale, Acrylic, 50x50 cm, 2019
39

Hommage Baselitz, 60x80 cm, 2018
Artwork p. 40:
Reveille en rouge, Acrylic, 50x50 cm, 2019
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The Coast:
Analysis of three works between
meaning and technique
The landscapes of Albert Enz originate from a personal
vision of the artist, re-elaborated with his painterly language,
which is partly defined and partly characterized
by a broad freedom of gesture.
The appreciation for nature and constant observation
reminiscent of the impressionistic approach of Monet,
who painted numerous water lilies and haystacks under
varying light and weather conditions.
The brushstrokes and flat, extensive areas of color, on the
other hand, recall Cezanne's style, as we have seen in the
critical analysis conducted on Albert Enz's art.
"Co"te d'Azure," "Cote d'Dalmate," and "Cote romantique"
are three artworks painted by Albert Enz in one year, united
by a common theme: the coastline.
In particular, "Cote d'Azure" and "Cote d'Dalmate," created
in the same year (2017), share many similarities in both

Co'te d'Azure, 50x70 cm, 2017
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Co"te d'Dalmate 50x70 cm, 2017
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color schemes and the arrangement
of elements within the
composition.
The mountain almost occupies
the entire canvas, leaving only
a small strip of sky along the
edge of the support. Shades of
particularly vibrant blue predominate,
interrupted by hints of
green and yellow that create a
harmonious effect in the artworks.
"Cote romantique," a work from
2018, seems to mark a small
stylistic evolution for Albert Enz:
the brilliant blue shades remain
constant, but their presence is
less pronounced compared to
the works from 2017. Albert modifies
the structure of the pre-
Details
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vious works, giving more space to the sky,
shifting the focal point farther away, and altering
the perspective, which is no longer
frontal as seen in "Cote d'Azure" and "Cote d'-
Dalmate."
Nevertheless, all three artworks appear to be
travel postcards where the artist has inscribed
every visual emotion and cherished memory,
with the same meticulous care that
emerges from Albert's dedication to rendering
each detail concretely and visibly, leaving
nothing to chance.
Details
46

Co"te romantique, 80x100 cm, 2018
47

Landscapes:
a return to Cezanne
Flat brushstrokes where chromatic material takes center
stage. Like Cézanne, Enz highlights the bare beauty of nature,
its truth. Nature is reduced to its essence and shows us how it
is unchanging and eternal.
Enz's landscapes recall the Mont Saint-Victoire depicted by
Cézanne in all its grandeur and solitary wonder.

Paysage jaune, Acrylic, 50 x 50 cm, 2012
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Toscane en printemps, 2012
50

Paysage de reve
Acrylic,
100x40 cm,
2013
Impression d'une région
irlandaise,
Acrylic,
100x80 cm, 2013
51

Echoes of Futurist Art:
New York
With his smooth and flat brushstroke technique, Albert provides
us with a glimpse of the Metropolis of New York, as if a memory
imprinted in the mind and imagination comes to life
through bold and energetic colors.
The artwork is divided into three parts: the lower part where
the ground is represented with shades of vivid and darker
green. A central part where Albert portrays the sea. Finally, in
the upper part of the artwork, the towering skyscrapers of New
York appear imposingly against a yellow sky that evokes both
the sunset and the approach of Futurist painting.
Although Albert Enz can undoubtedly be defined as an informal
painter, there are works that recall Futurist painting in the
way subjects are represented, the use and juxtaposition of vi-

ant colors, and the
dynamism and movement
of forms.
This
demonstrates
how Albert Enz is a
truly versatile artist
capable of portraying
glimpses of life
and landscapes in a
completely personal
way, through a style
that expresses a
strong identity.
New York ,2017
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In the heart of the earth
and in the heart of our soul.

Felsen, 55x80 cm, 2017
With the artwork "Felsen," Albert Enz gives us the opportunity to observe the rock
almost under a microscope. Nature, in its full strength and wild soul, is faithfully represented
despite the abstract style: for a moment, Albert abandons his vibrant
colors, opting instead for softer, neutral tones that recall rocky matter.
55

Pensees, 80x100 cm, 2018
Our thoughts are investigated and represented with the same color palette with which Albert
explores earth and rocks under the microscope. It is as if Albert compares our soul to that of
rocks and Mother Nature, creating a connection that makes us feel entirely part of the world.
56

Paroi rocheux mini
57

BLUE
58
Un tourbillion passe, Huile, 60x80 cm, 2013

Ste"les
Composition
abstrait,
100x80 cm ,
2016
59

Ville de reve
Hommage a Kubin
Acrylic,
40x50 cm,
2014
Artwork p. 61:
Virulent composition,
Acrylic, 100x100 cm, 2009
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CONCLUSIONS
In conclusion to this incredible journey through the landscapes and soul of
Albert Enz, we reaffirm once again the Master's depth of emotion and his
ability to transform his visions and memories into paintings.
Albert Enz stands as an heir to our Art History, inheriting from those artists
who pioneered modernity and courageously rebelled against a sterile system
of tradition and Academia.
Today, Albert contributes to enriching the current contemporary art scene,
capturing on canvas the most exquisite landscapes that the Earth offers
us and revealing the universality of emotions.
We want to express our gratitude to the artist Albert Enz for bestowing upon
us the honor of carefully interpreting his works.
Thanks.
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SPECIAL THANKS
I want to thank the art that filled my days.
My colors.
My landscapes.
Among the special thanks, I want to thank Beatrice Cordaro
and the Studioarte22 team.
But more than any other person, I want to thank my wife
Maya, who has supported and taken care of me for more
than 50 years.
Thank you
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BIBLIOGRAPHY
- Bertolino G., Saper vedere i movimenti artistici, Mondadori Arte, Milano,
2008.
- Brusatin M., Storia dei colori, Giulio Einaudi Editore, Torino, 2000.
- Chilvers I., Glaves - Smith J., Dictionary of Modern and Contemporary
Art, II Edition, Oxford University press, 1999.
- Di Giacomo G., Arte e modernità. Una guida filosofica, Carrocci Editore,
Roma, 2016.
- Dorfles G. Vettese A., Storia dell’arte. Novecento e oltre, Atlas, Bergamo,
2010.
- Martin S., Futurismo, Taschen, Koln, 2017.
- Studioarte22, Contemporary Art Explore vol.1 , ass. cult. Studioarte22,
Palermo, 2023.
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ALBERT ENZ - Art poetics between travel and visions
978-88-947534-1-7
Price: 40 €
Published on:
October 2023
Curated by
Beatrice Cordaro
Art historian and art curator
Translations, communication and graphic design:
Studioarte22 team
PUBLISHING HOUSE:
ass. cult. Studioarte22
ART CENTER
Studioarte 22 di Cordaro Beatrice
Palermo, Italy
Email:
artcenter@studioarte22.it
Website:
www.studioarte22.it
www.contemporaryartexplore.com
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@beatricecordaro.artcurator
@studioarte22_
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