With this exhihition, the Venetian-horn and self-taught Nadia hellin returns to puhlic view after a long period of artistic maturation and having acquired a vigorous painting technique.She is undertaking a focussed study of colour throught the fascinating w'orld of Nature. Experience has allowed her to adopt a highly effective array of artistic expression decisively more pondered and complex than hefore. Her paintings evince a close connection to music and to Venice. Her optimistic vision of life has led her to magnify her subjects. with the predominantly clear sky-blue backgraounds of a sunny day, portrayed Iwith a pure white or a warm Roiteresque orange. The relationship hetween painting and music has heen explored to no end. Is this due to a historical affinity or an elective affinity? The "Michaelangelesque" Beethoven or the "Impressionist" Dehussy are hardly stereotypical examples. In reality, their interlacing is almost inextricable. Both in painting and in music we talk about resonant chromaticism, brilliant timbre, masterfiul coloratura, melodic strokes; the lexicon wanders between one discipline and another: It's no wonder that a painter of today, coming out of the "'world of theatre, was at one time the Prima hallerina of the Fenice Theatre of Venice, or that she was inspired by the spell of music, dance, and nature. One could almost speak of a twinship, a delicate meeting on a plane where a melodic thread takes on form, acuires color becomes light, Certain contrasts between exaggerated depictions of flowers or fruit and ineffable happiness have raised perplexities and questions. Her ingenionsness takes on a galant and even humorous tone, reaely to dissolve into grace and lightness, Nadia Bellin is a painter of profound emotions and raptures rather than represent, she alludes to rather than touch, she brusches against. She is of her time, and yet outside of time. The atmosphere she creates is impalpable. Her colors and her music spontaneously and effortlesly infiuse the visual space, almost giving it an emotional support. Having lived her whole live in the world of music, she has pulled the curtains back from the temple with a tremulous hand, venturing on tiptoe onto the empty stage, and there she has hrushed against the resting violins, the pink hundles of toe shoes, a bouquet of flowers, a blue cloth draped over a piano. These are the images gathered and stored in her heart which she has now brought to the canvas. Her art is like a wave that expands hetween the sofiness of a threadhare velvet cloth and the rhythms of instruments still throbbing with the pulsation of discrete hands. The stage is her world. hut it is not a artificial world: it is hathed in the music of Venetian artists who have the supreme gift of trasforming all things into happiness. Mario Pitzianti Presidenle Centro di Coordinamento Culturale ONLUSWith this exhihition, the Venetian-horn and self-taught Nadia hellin returns to puhlic view after a long period of artistic maturation and having acquired a vigorous painting technique.She is undertaking a focussed study of colour throught the fascinating w'orld of Nature. Experience has allowed her to adopt a highly effective array of artistic expression decisively more pondered and complex than hefore. Her paintings evince a close connection to music and to Venice. Her optimistic vision of life has led her to magnify her subjects. with the predominantly clear sky-blue backgraounds of a sunny day, portrayed Iwith a pure white or a warm Roiteresque orange. The relationship hetween painting and music has heen explored to no end. Is this due to a historical affinity or an elective affinity? The "Michaelangelesque" Beethoven or the "Impressionist" Dehussy are hardly stereotypical examples. In reality, their interlacing is almost inextricable. Both in painting and in music we talk about resonant chromaticism, brilliant timbre, masterfiul coloratura, melodic strokes; the lexicon wanders between one discipline and another: It's no wonder that a painter of today, coming out of the "'world of theatre, was at one time the Prima hallerina of the Fenice Theatre of Venice, or that she was inspired by the spell of music, dance, and nature. One could almost speak of a twinship, a delicate meeting on a plane where a melodic thread takes on form, acuires color becomes light, Certain contrasts between exaggerated depictions of flowers or fruit and ineffable happiness have raised perplexities and questions. Her ingenionsness takes on a galant and even humorous tone, reaely to dissolve into grace and lightness, Nadia Bellin is a painter of profound emotions and raptures rather than represent, she alludes to rather than touch, she brusches against. She is of her time, and yet outside of time. The atmosphere she creates is impalpable. Her colors and her music spontaneously and effortlesly infiuse the visual space, almost giving it an emotional support. Having lived her whole live in the world of music, she has pulled the curtains back from the temple with a tremulous hand, venturing on tiptoe onto the empty stage, and there she has hrushed against the resting violins, the pink hundles of toe shoes, a bouquet of flowers, a blue cloth draped over a piano. These are the images gathered and stored in her heart which she has now brought to the canvas. Her art is like a wave that expands hetween the sofiness of a threadhare velvet cloth and the rhythms of instruments still throbbing with the pulsation of discrete hands. The stage is her world. hut it is not a artificial world: it is hathed in the music of Venetian artists who have the supreme gift of trasforming all things into happiness.

Mario Pitzianti Presidenle Centro di Coordinamento Culturale ONLUS