“In Veronese’s paintings, there are the characters of what he calls Rio’s civil war.”
Tom Jobim-
Antonio Veronese
-brazilian painter-

The search, almost obsessive, for the face… Only the face, because in it there is the concentration of everything, the abstract… But the challenge is not the academic face, submitted to the anatomy and perspective rules…no! Veronese’s face is of absolute simplicity, almost abstractionist… in it, there is not either the bony skeleton or, some times, the correlated conception of each face. But attention, this false simplicity is impregnated with an affecting humanism.

In 2003, with his life threatened in Rio because of the delation made by his paintings of the violence against minors, Veronese leaves Brazil to live in France. This is an example of the denunciative power of his paintings, which bothers the denounced executioner. He leaves Brazil, but not the total engagement to the Brazilian issue. In exhibits in the United States, Switzerland and France, he continues to show obsessively these faces, putting a face to those people who don’t have the right to image, a form to react to his own perplexity. In 2003, with Views of Silence in Paris, he opens up a surprising space in first class French media. The exhibit, initially provided for fifteen days, was extended twice, in exhibition for two months.

Invited by the news Jornal da Tarde, from Grupo Estado, to give his opinion about São Paulo Art Biennial in 2002, summarized his position in one sentence: “There is more emotion and history in a simple watercolor from Egon Schiele than in all pavilion of São Paulo Art Biennial. Different from the artists that only talk through their art, Veronese constantly manifests, engaged and not fearing the stereotype that accompanies the word. For him, the artist, as any citizen, must be engaged by principle, and insinuates that we all have, especially in Brazil, “le devoir de l’insolénce”. Physically away from Brazil, but never emotionally departed from the problems of his country, the painter continues to roar from his studio in Fontainebleau Forest, as a reaction to 2006 legislative poll: “… we are from a country that loves to credit its offenses to the incompetence and improbity to the politics. But a people that denies reelection to Antonio Carlos Biscaia and made Paulo Maluf the most voted must stop complaining about politicians and take responsibility…” A ferocious critic of the inactivity from people from Rio in face of the crisis in the city, he says in interview to Radio France “…it is time for Rio to look up in the mirror, because feeling shame is already a good start!”

In 1990, Tom Jobim wrote: “In Veronese’s paintings, there are the characters of what he calls Rio’s civil war. Their faces trace a nerve-racking profile of the country. A definite inventory of our anger period” Paulo Gayarsi

 

 

The Western eye sees Rio de Janeiro , the artist’s native city, as a land of sensuality, carnivals and celebrations, often forgetting that it is also a place where 600 street children are assassinated every year.

“Paintings filled with sensibility and softness, something personal, a touch of spontaneity in the faces. Unique and taken into the repetitive process wanted by the artist. One for all and all together. Faces of a bitter world. Faces of children. On the fringes. Children of Brazil . Or of the world.”

___________________________________

Reconciliation for all Brazilians

By Antonio Veronese

__In response the Brazilian Government’s accusations and espionage in connection to the MST, this Brazilian artist Antonio Veronese wrote a piece in defense of the necessity and moral character of the MST_

“The Brazilian authorities compare the MST to organized crime and the greatest (most wanted) enemies of the State and, more than shocked, we are perplexed.That comparison, more than prejudice, intolerance and ideological incompatibility, reveals profound disinformation and historic disregard.In the end, that which separates us from irrational animals is the process of acculturation, the possibility of utilizing in contemporary generations, the knowledge and the experience of generations past. Yet as we see: The MST fights for and defends, in totem, the same values and ideals of the French Revolution of 1789. In a country in which the powerful 1% of the people hold 46% of the cultivatable land and 32 million people live in hunger, it struggles for the access to land and it struggle for human dignity, for their human rights.A purpose that, before being dogma of any political ideology, is a human aspiration dispersed by its greatest philosopher, Jesus Christ.For years MST has worked with delinquent prison children, a significant part of these revealed to be children or grandchildren of farmers forced to leave the land due to impossibility of survival. They are forced to join the swelling ranks of criminals in the big cities, perpetuating the Brazilian paradigm that, Joel Rufino II, is that of the aptitude of the elites for maintaining domination and the survival of the people dependent upon that domination.If presented with unquestionable moral weight, perhaps that about the MST that makes the authorities fear is the aggressiveness of their strategy, but we cannot forget that, if there is to be true distribution of land in this country, Brazil will only give to people in areas in which the MST were more incisive, taking the initiative and pressuring, because under this government, or those that came before it, agrarian reform has never been a priority. Proving this point, the FHC (Fernando Henrique Cardoso) government spent on payments to service the public debt, in 1999 alone, more than the resources destined to agrarian reform in the last 73 years of the Republic. All the same, for the results attained up to the present, having managed the extraordinary act of giving land to more than 1% of all Brazilians, it is admirable that the Landless Movement has maintained its actions within extremely ethical and logical parameters, occupying deserted and unproductive areas, and of these, leaving immediately upon having made an error in its availability, or demanding a court decision. In their analysis, it was revealed that the Brazilian authorities were preoccupied with urban activities of the MST, especially with invasions of public property which are considered demonstrations of dangerous radicalism and classified disturbances to the public order. The authorities pretending to not remember that those initiatives encounter protection as civil rights, defended by intellectuals such as Noam Chomsky of MIT (Massachusetts Institute of Technology, USA) and Pierre Bourdieu of the College of France. These actions are part of an amplified global action against the politico-economic establishment, an international counter-offensive that will reduce the gravity/problems of globalization, whose logic is the exclusion of two thirds of humanity, offering politicians that assure, with pleading Rui Barbosa, that equals are treated equally and unequally in the exact measure of their inequality. A single perfect humanity. We also cannot forget that the MST, thanks to the census data available for use, have already produced the largest distribution of land in the history of this country, and that for this, it should not be the object of persecution, much less be compared to organized crime. Finally, in its struggle, the MST has not cause one death, while there have been more than 1,600 MST casualties, with only three of their executioners sentenced. Today, the MST is the most important and encompassing movement of civil society in the world, and hundreds of thousands of Brazilians will spend tonight under a proper roof safe from the pounding rain, thanks to their amazing courage. The MST’s proposal for a country more just, in which the land where the wild armadillos provide food for small families, where the migration for the large urban centers will decrease, creating basic conditions in the countryside for the dignity of all, having one day caused a decrease in intolerance and propose a reconciliation between Brazilians. A peaceful and pacifist movement, the MST causes us to reflect and suggest: more than a Brazilian population, we need to dream as a Brazilian people. Solidifying this collective personality does not happen through the sharing of common language, music, sports and common flag. But what it will yield is a with a great heritage of ethics, social justice and values that are the moral fabric of the MST”. Antonio Veronese

(Translated by volunteer Josh Dimon.)

Just Kids-A. Veronese______

Gallery@49

// New York // NY // 10019

Today, in a time of global uncertainty and hurt, the process of healing has turned the spotlight on children more urgently and with more resonance than ever. From the enormous tragedy of September 11th, from the ashes of our sorrow and our loss we come to recognize once again that our only hope in building a kinder future, a more tolerant and perceptive world, starts with each new child born, no matter where.

Gallery@49 is pleased to announce :

C O N D E M N E D

October 18-Novemer 18, 2001-GALLERY A49-New York City

CONDEMNED is one of the several exhibitions in New York City this fall, dealing with ’s arts and culture. It’s focus, however, is bringing to light one of the country’s most critical social problems of street children and children’s rights. Brazilian artist Antonio Veronese has dedicated the last 10 years of his career to denounce a truth towards we cannot remain insensitive. Condemned is the latest of over 30 traveling exhibitions presented by Veronese on this theme, and includes 40 portraits of imprisoned boys and girls, along with the UNICEF commemorative panel “Just Kids”. The Western eye sees Rio de Janeiro , the artist’s native city, as a land of sensuality, carnivals and celebrations, often forgetting that it is also a place where 600 street children are assassinated every year. “Death squads” operate in many Brazilian cities. Police officers are frequently accused of murdering destitute minors”. Most victims are impoverished boys and adolescents who are forced to commit robberies, drug trafficking and prostitution in order to survive, but there are many others who have no previous police records at all. In addition to being at risk of homicides, young Brazilians are humiliated, tortured and mutilated at the hands of their assailants, but all these acts have rarely been investigated or brought to trial. Since 1990, Veronese has been close to many of Rio ’s street children, teaching them arts and music as part of a largely self-initiated art therapy program in various juvenile detentions and institutions. He has been witnessing the crimes and the abuses first hand and kept expressing his strong feelings in hundreds of portraits capturing the children’s daily fears, anguish and pain. Isolating his subjects from their surroundings, Veronese focuses on the children’s faces, combining his skills as a portraitist with the forcefulness of Expressionistic distortions, serving here as compelling suggestions of scars, mutilations and psychological pain. The images are not abstract symbols; they are tangible and very real, each of these tortured children looking straight to the viewers as if challenging them to share in the horror of their shattered lives. As he recently stated, Veronese sees in his painting a manifesto, a political act, “something of the act of a war photographer who goes to the front in search of pictures of barbarism -to provoke reactions to barbarism“

 

 

 

A reception for the artist will be held on Thursday, October 18, 2001 - 6 to 8 PM. For further information and visual material please contact Monica Andreea at 212.767.0855, or e-mail info@gallery49.com. Gallery hours are Tuesday – Saturday from 12 to 6 pm.

 

in media

• Francisco Weffort – Minister of Culture

“Antonio Veronese’s work is extremely fascinating, a very beautiful experience that we need to communicate to the country.”

• Edgard Azevedo – Galeria Contorno – Rio

“Veronese’s faces show an absolute domination of the human expression; strong brush strokes from a great painter.”

• Jô Soares at Jô Onze e Meia program

“Antonio Veronese’s paintings catch us by the eyes and hit deeply in our stomach.”

• Anita Schwartz – Galeria Anita Schwartz – Rio

“For his intensity and deep identification with his time, Veronese’s Famine panel is a definitive work of Brazilian painting.”

• Senator Eduardo Suplicy – Senate Speech – 4-9-96

“I hope that the works of the extraordinary Antonio Veronese, today established in this place, may contribute to Your Highness, Mister President, understands the nature of the Landless Workers’ Movement…” I hope that Veronese’s work contributes to overcome the president’s limitation.”

• Journalist Marília Gabriela

“I was amazed and I hope people acknowledge the importance of Antonio Veronese’s work.”

• Mulher de Hoje Magazine - Bloch Editores 1997

“With the exhibit Veronese e os Meninos Infratores, Antonio Veronese has definitely acquired an important place among the national art representatives.”

• Antonio Callado

“By gathering under aged violators in his studio, Veronese simply turns them into boys. When he teaches them how to paint, he turns them into artists.”

• Tom Jobim at the invitation of Tensão exhibit in Rio – 1990

“In Veronese’s paintings, there are the characters of what he calls Rio’s civil war.”

• Critic Mário Margutti – Jornal do Comércio – 1990

“Veronese revives with power the expressionism language and offers us a convincing plastic register of Rio’s streets.”

• Informe JB – Jornal do Brasil – 4-8-1996

“Once more, Veronese puts his talent into the service of the fight for the country’s social redemption.”

• O Globo, 9-9-1996

“Veronese avoids right and left and lives a “radical chique” experience, in the sense of the expression stamped by the journalist and writer Tom Wolfe to classify the intellectuals that support social movements.”

• Betty Milan – Writer and Psychiatrist – Folha de São Paulo - Paris

“Through the eyes, the painter gives life to the child. Because he makes it exists with a particularity never seen before. As the analyst would make exist through the listening. Antonio Veronese art is indissociable of life and, therefore, he speaks of his painting as if it was a manifest, adding that it is not important to be liked – faces that are the expression of perplexity, fear and impotence themselves – what matters to Veronese is that his art does not go by unnoted.”

• O Globo

“Antonio Veronese, an old militant of the social causes, reaffirms his position as one of the models of the new arts engagement.”

• O Estado de São Paulo

“Veronese’s exhibit in the Congress is a poke in the politician class.”

• Courrier de Génève first page headline – 12-06-1998

“A painter that renews hope of prisoner boys in Brazil.”

• Hilary Clinton – United States First lady – 1997

“Veronese’s work and struggle to diminish violence against children in Brazil are remarkable.”

 

__________________________________________________

contacts:
brazilrights@yahoo.com

October 14, 2005

   Français 

«Antonio Veronese,

 

Antonio Veronese, artiste brésilien de renommée internationale, a ses œuvres exposées dans de nombreux musées, collections publics et privés. Il est l´auteur de Famine installée a la FAO a Rome ; « Save The Children » ( Nations Unies) ; « Just Kids » (Unicef) ; « A La Marge » (Université de Genève) ; « La Marche » (Parlement du Brésil)… Pour son travail pour la cause des enfants prisonniers au Brésil, il a été invité à la Commission des Droits de L´Homme à l´Onu, et a reçu de la Cour Suprême de Justice brésilienne la mention « Honoris Causa »

Risoleta Córdula-Affaires Culturelles-Ambassade du Brésil à Paris

“Des tableaux marqués par la souplesse et la sensibilité. Quelque chose de personnel,

une touche de spontanéité des visages. Uniques et pris aussi dans les processus

voulu par l´artiste, de la répétition. Un pour tous et tous ensemble.

Des visages d´un monde âpre. Des visages d´enfants. A la marge.
Enfants du Brésil. Ou du monde”

-Sophie Attar- Le Figaro -Cahier Culture-

600 ENFANTS

Imaginez une salle de classe petite et sombre aux murs suintants avec quarante-six enfants
Vingt-cinq sont noirs, douze mulâtres et neuf blancs. Seize ont des poux, quatre ont la gale,
onze de la conjonctivite, un a le corps bardé de furoncles. Vingt-trois sont couverts de
cicatrices résultant d’agressions, douze ont déjà été blessés par balles, quatre au couteau,
trois présentent des marques de brûlures. Vingt-six sont analphabètes, douze n’écrivent
que leur nom, vingt-huit sont orphelins de père, huit de mère et six de père et mère.
Dix-neuf ont été violés, trente-neuf ont déjà fumé de la marijuana, quarante et un
ont respiré de la colle, vingt-deux sont drogués à la décoction de champignons, sept ont
des tics nerveux, dont le bégaiement. Un est hypermétrope et souffre d’une cataracte
dégénérative, un a une pneumonie, un, probablement, la tuberculose ; un a la peau de la
jambe droite si fragile suite à des brûlures au troisième degré, qu ’elle se rompt au moindre
contact, vingt-trois ont des maladies vénériennes, six sont condamnés à mort par les
narcotrafiquants, onze ont de sérieux désaccords au sein de leur propre communauté ou au
sein de la prison, un a sur le corps dix-huit cicatrices de brûlures de cigarettes et a
complètement perdu l’articulation de son coude gauche après avoir été attaché et traîné
par une voiture. Cette salle de classe, dans une prison pour mineurs, dégage un mélange
d’odeurs de dérangements intestinaux et de sueur. Ce groupe de malheureux ne dérange plus ;
on l’a retiré des rues, il ne met plus personne en danger. Ce groupe est mal-né, a grandi
mal nourri ; dès l’enfance ils ont été battus comme s’ils étaient grands ; encore impubères,
ils ont pratiqué le sexe comme des adultes… Ce groupe de misérables a vite découvert qu’une
goutte de colle de cordonnier éloigne la faim et aide à dormir et que son coût est dix fois inférieur
à celui d’un hamburger. Ce groupe d’enfants, complètement orphelins de l’Etat, a bien essayé
de trouver un emploi mais a fini par céder aux appels des sirènes des trafiquants, avec
leurs propositions d’argent facile et d’émotions sans limites. Ce groupe, au passé tragique et
au futur sombre, est réuni dans cette classe, dans la torpeur d’un après-midi, pour écouter
Mozart et peindre à l’huile. Il est surprenant de constater que le travail qui sort de cet atelier
enchante et révèle, malgré tout, une réminiscence d’âme d’enfant chez ces gamins au vilain
visage et à l’histoire triste. Grâce à l’apprentissage de la peinture et à l’écoute de la musique,
plus de cinquante pour cent d’entre eux verront leurs peines réduites et seront considérés
réadaptés à la société. Stimulés par des activités esthétiques et culturelles, ils s’émeuvent
et récupèrent rapidement leur estime de soi et leur dignité. La violence à l’intérieur du groupe
chute à zéro, sa récidive, trois fois moindre. Rien qu’à Rio, plus de cinq cents enfants sont
assassinés chaque année. Cinq mille cinq cents subissent des lésions corporelles graves et
soixante et onze pour cent de tous les enfants de Rio, indépendamment de leur classe sociale
ou de la géographie urbaine, pâtissent de maladies psychosomatiques causées par la peur.
Je viens de présenter devant la Commission des Droits de l’Homme aux Nations Unies, les
photographies de cent soixante de ces enfants avec lesquels j’ai travaillé et qui ont en
commun des corps marqués de quantité de cicatrices dues à la violence urbaine, domestique
et policière. Les chiffres du recensement de la violence contre les mineurs à Rio nous permettent
d’affirmer qu’il y a un génocide de jeunes en cours au Brésil ! C’est de cela dont nous devon nos
occuper en rpiorité!
antonio veronese- maître de peinture dans les prisions de mineurs au Brésil

 

“La Marche ” -Symbole du Mouvement Pour la Terre -Parlement du Brésil-

________________________________________________________

 

« Quelle merveilleuse surprise ! J´aime vraiment son travail, sa façon de traiter les
Corps et les visages. C´est a la fois fort et délicat, expressionniste et plein d´intériorité,
porteur d´émotion. Picasso, Egon Schiele…Vous avez intégré l´héritage des maîtres
de l´Art moderne sans vous laisser dévorer par eux- les pères sont parfois des ogres-
pour le mettre au service de vos sujets qui sont la compassion et la révolte »
Marie Collins -comédienne et écrivain français

Le Visage caché de Copacabana

1)La vérité n’est pas la beauté - Francis Bacon
2) La vérité peut être l’horreur - Francisco Brenand

600 gamins tués par an, et 5.500 blessés à Rio

“L´image des marginalisés n‘est pas obscène…
Obscène est l’indifférence”

 

Le magazine Nuevamerica, publié aux États Unies, consacre sa dernière édition, sortie en Décembre 2007, à une synthèse des arts plastique en Amérique Latine. Avec un éditorial du célèbre critique et poète brésilien Ferreira Gullar. Artistes brésiliens sélectionnés : Oscar Nimeyer, Cândido Portinari, Tarsila do Amaral e Antonio Veronese.

 

” Dans ces visages à l’apparence torturée, presque inquiétante et repoussante,
Antonio Veronese a vu la parcelle lumineuse et nous la transmet.
Ses visages, ses regards sont un vibrant témoignage de
l’humanité qui existe en chaque personne”
Marinka Schillings

 

______________________________

Regarder ci-dessous, en Gallery, des nouveaux visages de Veronese

Dessins d’enfants en prison

---

LA DÉCLARATION UNIVERSELLE DES DROITS DE L’HOMME
__Les droits de l’homme en bref

Article 1  Droit à la liberté et à l’égalité en dignité et en droits Article 2  Droit de ne pas subir de discrimination Article 3  Droit à la vie, à la liberté et à la sûreté de sa personne

Article 4  Droit de ne pas être tenu en esclavage ni en servitude Article 5  Droits de ne pas être soumis à la torture ni à des traitements dégradants Article 6  Droit à la reconnaissance de sa personnalité juridique

Article 7  Droit à l’égalité devant la loi Article 8  Droit à un recours devant une juridiction compétente Article 9  Droit en vertu duquel nul ne peut être arbitrairement arrêté ou exilé

Article 10  Droit à un procès équitable ou à une audition Article 11  Droit d’être présumé innocent jusqu’à ce que la culpabilité soit légalement établie Article 12  Droit d’être à l’abri d’immixtions arbitraires dans la vie privée, la famille, le domicile ou la correspondance

Article 13  Droit de circuler librement et de choisir sa résidence dans son pays, de le quitter et d’y revenir Article 14  Droit d’asile Article 15  Droit à une nationalité et liberté d’en changer

Article 16  Droit au mariage et à la protection de la famille Article 17  Droit à la propriété Article 18  Liberté de pensée et de religion

Article 19  Liberté d’opinion et d’information Article 20  Liberté de réunion et d’associations pacifiques Article 21  Droit de prendre part à la direction des affaires publiques et à des élections libres et d’accéder dans des conditions d’égalité aux fonctions publiques

Article 22  Droit à la sécurité sociale Article 23  Droit au travail et à une rémunération équitable Article 24  Droit au repos et aux loisirs

Article 25  Droit à un niveau de vie suffisant pour assurer sa santé et son bien-être Article 26  Droit à l’éducation Article 27  Droit de prendre part à la vie culturelle de la communauté

Article 28  Droit à un ordre social garantissant les doits de l’homme Article 29  Devoirs envers la communauté rendant possible le libre et plein développement de la personnalité de l’individu Article 30  Droit de ne pas être soumis à l’intervention d’un Etat, ou à toute autre intervention dans les droits mentionnés ci-dessus.

Source : Nations unies, New York, 1998 Dessins d’enfants en prison. Ces dessins ont été réalisés par des délinquants mineurs sous la supervision du peintre brésilien Antonio Veronese qui a animé, ces dernières années, des “ateliers créatifs” dans des prisons. Ces dessins ont été “publiés” sur le site de l’association genevoise Païdos. Ils ont fait l’objet d’une présentation dans le cadre de l’exposition Les enfants en marge Depuis sa fondation, en 1996, l’Association Païdos propose une voie originale de lutte contre l’exclusion des jeunes en les encourageant à prendre conscience des problématiques qui les touchent et à s’exprimer. Internet : www.paidos.org

Italiano

Antonio Veronese

Con 33 esposizioni individuali la pittura di Antonio Veronese è un registro della sua perplessità nei confronti della violenza. Nel 1990, Tom Jobim scrisse: ” nella pittura di Veronese ci sono i personaggi di quella che lui chiama “la guerra civile carioca”. Dopo dieci anni di lavoro come volontario in carceri per minorenni brasiliani, i visi dipinti tracciano un profilo inquietante del Brasile. Un inventario definitivo di questi nostri tempi di collera”

Nel 2003, minacciato di morte a Rio de Janeiro, a causa della denuncia che la sua pittura rappresenta della violenza contro i minorenni, Veronese parte dal Brasile per vivere in Francia. È un esempio della forza della denuncia di sua pittura, che disturba il boia denunciato. Veronese parte dal Brasile ma non abbandona la partecipazione attiva nella questione brasiliana. Nelle mostre che fa negli Stati Uniti, Svizzera e Francia, continua a mostrare con ossessione quei visi, presentando quei soggetti che non hanno avuto il diritto neppure ad una immagine, una forma di reazione di Veronese alla sua propria perplessità. Nel 2003, con I Visi del Silenzio a Parigi, lui conquista un sorprendente spazio nella stampa francese di prima linea. La mostra, inizialmente programmata per quindici giorni, è stata prorogata due volte, restando in esibizione durante due mesi.

Invitato dal Jornal da Tarde, quotidiano del Gruppo Estado, per dare la sua opinione sulla Biennale di Arte di San Paolo nel 2002, lui ha dichiarato in una frase la sua posizione: “C’è più emozione e storia in una semplice acquerella di Egon Schiele che nell’intero padiglione della Bienal di San Paolo”. A differenza della maggioranza degli artisti che parlano soltanto attraverso la loro arte, Veronese si manifesta costantemente, partecipante e senza paura del clichè che accompagna la parola. Per lui, l’artista, come qualsiasi cittadino, deve avere il principio della partecipazione sociale, e dice che tutti noi abbiamo, specialmente in Brasile, “le devoir de l´insolénce”. Allontanato fisicamente dal Brasile, ma giammai distante nel cuore dai problemi del suo paese, il pittore continua a gridare della profondità del suo atelier in mezzo alla Foresta di Fontainebleu, come ha fatto durante le elezioni legislative del 2006: “ …siamo un paese che ama accreditare i suoi mali all’incompetenza e improbità della classe politica. Ma un popolo che nega la rielezione a Antonio Carlos Biscaia e vota di più in Paulo Maluf, deve smettere di lamentarsi dei politici ed assumere la sua responsabilità…” Crítico feroce della apatia carioca nei confronti della crisi della chiamata città meravigliosa, lui disse in una intervista alla Rádio France “… è già ora della città di Rio de Janeiro guardarsi nello specchio, perché vergognarsi è già un buon inizio!”

 

 

 

• Francisco Weffort - Ministro della Cultura

“Il lavoro di Antonio Veronese è estremamente affascinante, un’esperienza bellissima che noi dobbiamo comunicare al Brasile”

• Edgard Azevedo- Galleria Contorno- Rio de Janeiro

“I visi di Veronese mostrano un dominio assoluto dell’espressione umana; tracce forti del pennello di un grande pittore”

• Jô Soares nel show Jô Onze e Meia

“La pittura di Antonio Veronese ci prende dagli occhi e ci batte fondo nello stomaco”

• Anita Schwartz - Galleria Anita Schwartz - Rio de Janeiro