ICAC International Confederation of Art Ctitics
through The Museum of Art of Chianciano which is known for organising annual international events, including the Chianciano International Art Award and the Biennale of Chianciano.

Timothy Warrington was born in Birmingham in 1944 and is a critical writer and curator based in London.
Warrington’s career has taken him all around the world in the search for art to exhibit in London. He was part of the organisation that hosted the largest and most important exposition of Bulgarian art ever curated outside Bulgaria, showing 300 artists. The exhibition was hosted in collaboration with the Bulgarian Embassy in London and was inaugurated by the Bulgarian Ambassador Mr Stancoff.
The Slovenian Printmakers Exhibition was another reminder of the wonderful talent that Timothy brought to London, artists that are recognised and respected all around the world. “Italian Views” at the Lord Leighton Museum, curated by Timothy, was also a great success and a spotlight into contemporary Italian Art from institutions such as the Academy of Fine Art in Florence, Academy of Fiorino in Florence and The Academy of Fine Art in Rome.
Warrington has curated numerous books and writes opinions and exhibition critiques in the UK and the USA. Notably, he was responsible for the main publication related to Brian Willsher’s Bronzes, an artist who taught at the Tate and was praised by Sir Henry Moore as an artistic genius.
Timothy’s critical writing is very sophisticated - he has the power to translate the artist’s thoughts to the viewer with extreme clarity and competence. He was a member of the jury of Chianciano International Art Award alongside people like Gerard Bruneau who started his career with Andy Warhol.
The Critique:
Annemarie Oshelda is an eclectic artist that transmits all her subconscious charisma inundating her evocative paintings with an impulsive, impassioned and fiery style.
The thoughtful paintings by Oshelda take us back to remote worlds of memories, representing scenes saturated by imaginative remembrances.
At first glance, the observer is completely overwhelmed by the powerful and expressive appearances depicted, trying to navigate the myriad of perspectives and focal points in Oshelda’s sophisticated compositions.

The atmospheres become more perceptible and the spectators perceive a recondite and emotional meaning concealed by fierce brushwork.
Oshelda’s paintings remind us of a unique and unexpected combination between the romanticist landscapes by J.M.W. Turner and Van Gogh’s dramatic and expressive portrayals.
Stylistically speaking, Oshelda stunningly synthesises the impenetrable atmospheres executed by the Romantic Master with a vivid post-impressionism style.
Each scene conveys an emotional impact that symbolises the innermost truth of the artist’s subconscious.

Oshelda electrifies the horizons with luminous and architectural brushwork, representing pastoral and marine scenes exquisitely made of pure and thick touches of paint. In her compositions nature seems to overcome humankind and the viewer is totally captured by the sublime and fierce dominance of the natural element. The effects of light give dynamism and energy to the whole harmonic structure, emanating mystical and poetic references.
Oshelda embodies innovative and extraordinary ways to communicate her artistry and she is definitely able to convey a spirituality that lives and influences the world around us.
Thus, the spectator is sympathetically conquered by the skilful touch of this Austrian born artist, rather than facing an aesthetic that only responds to optical phenomena.

Timothy Warrington
International Confederation of Art Critics