In just a few years he forged ahead with his training and began his rise to fame.
He studied the classics of figurative art, visiting museums and art galleries, he spent time with the marble sculptors of Pietrasanta and Carrara, and he fine tuned his skills following the lessons of qualified masters, including Professor Sandro Sansoni, from whom he learned the various techniques for working with plastic. When admiring his numerous works today (figures, busts, portraits, wall mounted bass reliefs, commemorative monuments, both public and private, and modern symbolic compositions) one remains impressed by the stylistic perfection and the plastic softness of the pieces, from which an anxious atmosphere of eloquent emotional suspension shines through together with a limpid transcendence of the creation.
Johannes Genemans (who since 1993 has lived and worked permanently in the Marche region) is an amazing architect of morphologies skilfully punctuated by the masses in equilibrium. He is an intuitive and imaginative craftsman, able to take to the highest aesthetic level the neo classical and Renaissance concept of the perfect form while at the same time uniting the body and soul of every beautiful thing created with the innocence of a child deity descended from Olympus that plays on the seashore and imbues his statues made of sand with living breath, making them fluid, free and palpitating in the fascination of form, in the pureness of the soul. In the epiphany of a noble thought, he steals the heaven’s beauty to lend brilliance and vitality to the emotions of the heart and the sensations of the soul with, as only chosen artists can do. In the Genemans’ sculptures there is the joy of living one’s own humanity, a sentiment that moves between the innate quality of the objective fact and the idyllic vision of pure beauty, without which no work, by his way of understanding and working, would have reason to exist. This artistic ideal finds its basis and inspiration in the exemplary models of the Greek culture, in which sculpture rises to expressions of the highest perfection with Fidia and Prassitele and in those of neoclassical art, where the nobility of the gesture embodies the extreme formal and technical perfection, in the light of a lofty idea of uncontaminated, eternal and universal beauty, as seen in the masterpieces of Antonio Canova, who the artist takes as his guide and the parameter of his prolific output. Genemans is inside this plastic and formal universe, suspended in perfect equilibrium between rational vision and poetic emotion, where the vitality of creative imagination releases the static nature of the shapeless mass.
Urged on by the angst of continuous obsolescence, he sculpts, models and panders to the material, gradually making the mentally visualised form emerge, brought to life through his skilful, agile and sensitive hands. And as if by sorcery, the material with no semblance or soul is turned into a magnificent plastic work of great awe and splendour; the more real and authentic the superficial aspect of the form, the deeper and more apparent the emotional, sensorial and spiritual atmosphere that makes the work something unique and original able to capture our gaze and touch our inner being.A close analysis reveals that the Genemans’ sculptures are symbolic icons of this impassioned possession this life we lead, they are living, harmonious and dynamic “creatures” that move and dance in open space acting as a counter melody to the wonders of creation. In this way an incomparable scenario is created that in the loveliness of the form finds sublimation of the high concept of beauty and harmony, the inspirational leitmotif and ideal message of all his works.
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