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Alberto Chiodelli - Art in the Fishing -  WWW.ARTENELLAPESCA.COM

Tel. 0373 – 201365

Cell. 338-3411582

  • Wand via 1 / a
  • 26013 Crema, Italy

The great passion about the wood and the enthusiasm that has to realize works, led him always looking for professional techniques by attending professionals and masters of this art to always get the best results that can satisfy 

Whenever the artist is in front of nowhere represented by passions or various images that daily life offers us leaves his mind inspired guide his hand in a kind of absolute isolation from the surrounding context.

At this juncture the candor with the choice of different valuable wood species is transformed into an image, just when the mood state of Chiodelli takes shape with its woods and colors of meaning.
The artist depicts on its inlays, mainly his passion is fly fishing, then the passion leads him to perform all: sacred art, decorative clocks, landscapes, floral and other short, everything that inspires you or commissions, as the municipal coat of arms or family.

He also made antique photos of his city, and anything that can achieve with the techniques that now belong to him, for many years an artist who has always present his humble roots, in recent times, after years of hard work and study.   

His first, shy exposure dates back to 1980, n and his native country, in Crema in the province of Cremona.

Year after year, his work showed a strong trend involving more and more the interest of the public, especially in the world of fishermen even if not only, that year also led to spin half Italian and also in Paris in February 1998.

Chiodelli made his first inlays with the help of marquetry professionals who help him refine his techniques and then continues the business with the Master Franco Bussini.

The recent times have been significant for the artist, receiving praise and compliments, and not just in his city '

Intarsia and play with wood, for the joy of it by saying that the real wealth of life lies in expressing their feelings as indelible marks of Leave In Time


Alberto Chiodelli nasce a Crema (CR) il 30/05/1961

Già alla frequentazione delle scuole medie, affascinato dal legno comincia con

applicarsi al traforo a mano eseguendo diversi oggetti quadri, scatole ecc.  

Negli anni successivi oltre che fare qualche corso serale di disegno, frequenta

 per una decina d’anni una scuola d’intaglio ornato (cornici, specchiere,ed anche

 sculture,ecc.) Questo tipo di scuola lo porta ad una conoscenza maggiore di

come scolpire il legno.

 Visto anche un’altra tecnica affascinante” l’intarsio con legni pregiati ”e subito la

 passione per il legno lo porta a frequentare anche maestri intarsiatori: per  anni

con maestri di questa tecnica, e da tempo col maestro Franco Bussini di

Treviglio che frequenta tuttora per affinare le capacità di eseguire l'arte delle

tarsie lignee.

 La passione della pesca a mosca lo porta ad operare con queste tecniche verso

 tematiche piscatorie, eseguendo quadri, sculture, e simpatiche scatolette porta

mosche, con passione e molta pazienza.

Il suo lavoro consistendo nel tagliare non legni ma “capelli”, ed esegue tutte le

sue opere nel tempo libero. Purtroppo essendo tecniche d’ esecuzione molto

impegnativa è penalizzato sulla creazione d’opere che vorrebbe fare, ciò

nonostante la sua produzione si è potuta vedere sia in zone del Cremasco dove

vive e presso molte delle manifestazioni di pesca, infatti,negli anni, ha esposto in

molteplici posti: Parma, Rimini, Prato, Bassano del Grappa,  Treviso,Montichiari,

Vigevano, Inzago, e nientemeno che a Parigi durante la fiera internazionale

della pesca a mosca nel ormai lontano 98.

A sua volta nonostante il continuo apprendimento da maestri, ha fatto corsi nel

suo laboratorio per far apprendere ad altri molti dei segreti di un’arte

 plurisecolare di una tecnica che va ormai scomparendo, e usando solo

 esclusivamente legni pregiati ed altri materiali nobili, ottenendo

così  opere innovative creando un nuovo stile d’esecuzione artistica personale.

Un’arte, quella dell’intarsio che in nuove forme non guarda solo al passato ma

tenta, oggi, forme espressive aderenti ai gusti dell’uomo  moderno.

In internet si può vedere, apprezzare, e richiedere informazioni su quello che più



inlay technique

Better known by the floral in style furniture, it is to cut several pieces of wood obtained by sectioning the design to be reproduced. 

 then dipping each piece in hot sand you can get special and irreplaceable nuances that, in addition to giving a sense of depth, soften the contrast of natural colors that wood offers. 

 The various clippings are then assembled like a puzzle and then glued and pressed.  

After the party finishing with pyrography or incision, you end up with the painting that brings out the shades and colors of the various types of wood previously selected in order to better express their quality according to the desired design.



inlay history

It 'called the decorative inlay process by which it is possible to lay down especially thin substrates prepared plates of various materials (mostly fine): wood, marble, precious stones, ivory and other.

Example of inlaying have come down from civilization 'ancient: the widespread Hellenistic period was the inlay for the decoration of walls and floors: in the great Rome Accustomed to inlay particularly appreciated art: with fragments of colored marble was used for letters realize even brightly decorated with geometric patterns.

In Italy the wood inlay expanded from the fourteenth to the sixteenth century (in the second half of the fifteenth century the craftsmanship of the wood had its maximum expression with the appearance of real artists the largest of which seems to be regarded, according to Vasari, Fra Giovanni da Verona).

From Siena to Florence and then in many of the 'Italian northern city you have examples of tasteful inlays. Certainly deserve consideration both for drawing (lottery) for the technical implementation (Gian Franco Capoferri with his son and his brother Pietro Tonino) stalls of S. Maria Maggiore in Bergamo (1524-1530).

On French soil inlay it made sense but it must be held that no teacher could perhaps embellish this art as Giuseppe Beetles who worked in Milan in the last quarter of the eighteenth century. He only used natural colored woods except for the "blue" and "pale pink" that he drew immersing green platinum foils in special dye