Italo Squitieri I like to imagine the ruins of Petra. In the city that "lives of his death, I see it moved to stop before the many facades of tombs carved into the limestone, on cliffs. And while I think of a painting that gives the precise meaning of this kidnapping ( CHARM OF PETRA , that the painter has made recovering potentino impressions of his trip to Jordan and a visit to the legendary capital of the Nabataeans), other images are superimposed on the first, by association logic. I see, then (and I understand better), one of the works of Luke's environment more than others, giving the sense of a painting by the great evocative power of art that exalts the meek man.
Here, then, LUCANIA , a painting of 1965, cross-section of a microcosm of archaic but still current, much loved by Squitieri transport with no rhetoric: a woman in the niche of going home, that the shadow Knittel a votive icon, a fountain, two peasants on mules that carry tired on the pass of the evening and the country to make a backdrop, embedded in rock.
Petra or the Sassi in Matera, or Pietrapertosa or Castelmezzano?
Jordan or Lucania?
ancient Arab capital of the third century before Christ, or a country of stone, filled with symbolic figures, taken as an emblem of human values \u200b\u200bthat endure over time and that many parts are the roots that each of us carries ; of roots which, in the case of Squitieri, are Lucan, but belongs to everyone because they are part of the history of the world?
The similar states in diversity, through the work of a painter who, referring to the myths of his homeland, has given, since the early years, a universal dimension to his work, bringing the best of his native province: Lucania of sediment that it helps to give shape to patterns that arise from individual experience with memories that have been accumulating a season after ' other life. Painting as a suggestion. Working synthesized linear and aiming to get large volumes (which is what architecture and monumental happily remains in the palette of his wholehearted to the poetics of "Novecento", after the initial experiences in which you could catch the echoes of the lessons of macchiaioli and the first of the Impressionists and, later, the Futurists), gives us images of a Squires dreamed of Lucania; evocative pieces of all that speaks of the ancient heart, the primary limitation of this land that retains great environmental treasures, but most of humanity.
comprendiamolo Let us follow him and then, when, using a poetic, evocative as his painting, he says:
"I paint women vertical petrified by the dignity, myths and legends of ancient land, young girls as corn, woods sound of water and wind, waterfalls houses devoured by silence, crazed horses, pieces of heaven ... and always comes back to me the pleasure of your hand, once he heard and saw the plaster of a rusty sanctuary hot sun. "
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