Diana Malivani passionately conveys her effervescent personality through each graceful touch of paint to canvas and her use of texture manifests itself as a creative haven upon which she symbolically cultivates organic pastures that possess the ability to simultaneously induce calm and empower the viewer. Drawing upon inspirations from a vast array of artistic sources, Malivani proposes a semblance of modernity to the traditional themes to which she gravitates. While her aesthetic is clearly influenced by the Impressionists, diverse movements ranging from the Pre-Raphaelites to Abstract Expressionism can be detected from her involute opuses; a myriad of interwoven visual and philosophical lines of thought act as the catalyst for her conceptions that never lose sight of her primordial essence and vitality for life.
The captivating combination of artistic techniques adopted by Malivani provokes deep intrigue and curiosity in the spectator, who is charmed by the sophisticated and inviting aura as each painting evokes the blissful and uplifting spirit and hopefulness of nature. ‘They Who Aspire’ exemplifies the union of these visual inspirations; the Impressionistic approach to classical concepts is a delight to observe and, upon close analyses, an element of Expressionism can be detected in the luxurious use of her medium. Bold and emotive brush strokes, as well as an indelible essence of Romanticism in the soft and tender attention that the artist gifts to her subjects, enhances the composition with a profound level of academic complexity. Her nuanced fusion of style masterfully reflects the movement of the cantering horses and the powerful tides of the sea by invoking references to Édouard Manet, Rosa Bonheur and Eugène Delacroix throughout her percipient exploration of the fluidity of water and glory of wildlife.
In regard to Malivani’s landscapes, an influence from Théodore Rousseau and the Nineteenth Century French Realists can be observed particularly in the coruscating array of colours utilised in the scintillating skies of the paintings. Gentle pinks, blues and oranges ebb over the canvas to convey the magnificent horizon in every season and time of day. Malivani frequently depicts figures congruous with the organic scenes that envelop them, through which the artist contrives strong links to Edgar Degas’ works in oil; the exquisite textures achieved by these artists and personal bond with their sitters, in turn, provide a tangible and irrevocable empathic connection with the viewer that encompasses the tender relationship between the artist and model.
Malivani’s deep affinity to nature is also shared with the Pre-Raphaelites, notable through her predilection for painting serene and harmonious figures alongside an abundance of resplendent nature and blossoming flowers; this propensity reflects a philosophical connection with Sir John Everett Millais and John William Waterhouse. Considering ‘In the Shade of the Wood’, the exquisite observation of light is expertly conveyed through her brushwork to evoke a true sense of the elements and the, simple yet supreme, ebullience of life itself. Malivani uses vibrant hues to depict the warm air and soft breeze of the environments in her compositions, which transport the viewer directly to the idyllic scenes portrayed and induce a feeling of overwhelming serenity. The delicacy with which Malivani paints each petal of the elegant flora radiates the artist’s passion and spirit whilst demonstrates a firm naturalistic influence, albeit, strong ties can be seen between her and Georgia O’Keeffe through the diaphanous effect they achieve in which the flowers appear almost translucent; each tangible ray of sunlight can almost be felt upon the skin of the observer as it is absorbed into the fibres of the blossom.
While much of Malivani’s work has firm roots in Nineteenth and early Twentieth Century art, her abstract collection suggests an adventurous, curious and inquisitive side to her artistic being. Her use of shape, form and colour as a form of expression solidifies conceptual ties with Wassily Kandinsky and Gerhard Richter while her use of line is reminiscent of Kazimir Malevich and Piet Mondrian. However, Malivani’s abstract line of work is not where these comparisons end. Indeed when observing ‘Regatta,’ it is clear that the inspirations of abstraction run far deeper; the harsh and structured edges utilised translate into the rough tides through which the ship must navigate suggesting an inclination to push the boundaries of art through the use and understanding of nuanced artistic techniques. This intelligent application of her superb skills can also be noted in ‘When I Saw This Tree…,’ which bears a subtle essence of Surrealism and reflects a refined and enlightened approach to her artform. Malivani impeccably coalesces diverse artistic attitudes to convey her meaning through learned visual and philosophical channels.
Malivani is undeniably a talented artist who has a resoundingly sharp understanding of her creative power through which she is able to eloquently and articulately communicate the fluid rhythm of nature and contain its proud personality. In each artwork, Malivani effortlessly forms a complex language through which to share her glorious and uplifting perspective of the world.
International Confederation of Art Critics