In the arrogant river of contemporary modernity, because there is another<\/p>\n\n\n\n
much more permanent modernity, the sensory tributary represented by the<\/p>\n\n\n\n
painting of the artist Nagy Nik\u00e9 appears as a return to the sensitive. With clear<\/p>\n\n\n\n
or murky waters, depending on the period and time. With above all an<\/p>\n\n\n\n
appearance of evanescent fragility, assimilated to the very rich hours of the<\/p>\n\n\n\n
Pre-Raphaelism of the Rossetti brother and sister or to the Baroque<\/p>\n\n\n\n
Romanticism of the Savinio Father and son. This means that the transposition<\/p>\n\n\n\n
of reality into visual poetry evocative of a parallel but tangible universe,<\/p>\n\n\n\n
becomes painting after painting an existential evidence owing nothing to<\/p>\n\n\n\n
marketing or fashion. An authentic timeless light signature for a geopoetic<\/p>\n\n\n\n
aesthetic wandering is leading the viewer to the confines of another Europe.<\/p>\n\n\n\n
That of liberated nations that have become citizen spearheads for an astonishing revenge of the sensitive on nothingness, of poetry on materialism<\/p>\n\n\n\n