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"A painter from the pack"

Piazza Conte Rosso 3, Avigliana Turin, Italy

The magic of falling snow, soft, cottony but chilly, so that invites us to a walk; the temperature, not really too cold, it is ideal to discover, irresistible, the feeling of giving in the mantle, but almost with retainer and childish delicacy, our footprints. There is no doubt that the impulse that leads us to perform those acts lurks a mysterious will, perhaps anxious search of our identity. A kind of feeling naive, in which, at least for a while, gushes in us, that element towards natural, spontaneous "correspondence of amorous senses". The landscapes of Charles Pigino, those under the snow, indeed, precisely during snowfall, seem to allude, of course, in this secret, so other critics, the most well-shod, sostanzierebbero their analysis with precise references to the occult dimension of the unconscious. But anyhow, I prefer to take a step back, respecting the work of the painter. It seems to me - I do not say just at first sight and, for that, I groped to go into the matter - that the painting of Charles Pigino monsters, meanwhile, or if you will, in addition, with respect to the trivial appearances, the intention to achieve, in his underwear, with its subtle and just discretion, a delicate balance between painting cultured and spontaneity, as they say, naive, or naive. Apart from that already is some doubt about the same painting, the so-called naive, for which, namely, that its much proclaimed immediacy, total relevant to those specific forms of painting, depends, in fact, from models derived from well-defined codes of expression - (and this in itself culturally structured, I would say, a priori, and anything but inspired purely spontaneous and "popular") - you must instead recognize Pigino to put the question in very different terms. The component relating to its spontaneous immediacy, like, it was said, which ranks as one of the terms, if you will, of the details of his balanced program of view, in fact, digs in a dimension ghostly stranger to those prospects. His truthfully be naive match other parameters lunge psychological, as you tried to say at the beginning. On the other hand, the cuts composition, which support the setting of his images, made up ends more or less citizens, are fully included in the pictorial tradition of modern and contemporary art, and not only in Piedmont, which dates back at least to the ways of landscaping of the school of Rivara, to cross the entire first half of the twentieth century Piedmontese. The difficult issue of snow - already difficult and yet dear to the French Impressionists - soon occupies the attention of so many masters of Piedmont, so, wanting to go back in time, we can go from Francesco Menzio, Charles Terzolo, Leonardo Roda and Cesare Maggi, Matthew and Joseph Olivero Bozzalla, Giuseppe Augusto Levis, Vittorio Cavalleri, Lorenzo Delleani down and down, until Calderini, Reycend, Alby and, interesting, Prospero Riva (in 1876). It, moreover, comes to us for many streams scattered, but harmless, beyond the diverse and articulate seasons of the avant garde. Unscathed, because, although quite different and little or not consenting to those and, then, to the booming silence of late twentieth-century followers of those corresponds to a need genuinely actual comparison, both with the natural world, both with the artificial environment, that of urban areas, which are the necessary context of our daily existence. If painting of Charles Pigino there is more known for his particular affection to the theme of snowy landscapes, comparing, in parallel, with his other views - that I do not know if better define "views" landscapes, not winter, beyond of what has been said on the greater difficulty in the pictorial representation of the whiteness of the snow - it seems to me that it can not confirm that the interest they arouse, I repeat, as a further and valid during delicate meeting, balance and intimate fusion, between statements of suffering spontaneous - in their own way unique and, if desired, strictly naive - and respect and empathy, vividly interpreted, in forms as stringent and far from modal, a "tradition" as well as figurative now secular. It seems genuinely reinterpreted by Pigino in very different forms and necessarily distant from now so discounted rituals, referring to the multiple and recent artistic practices, largely devoted to discounted reinterpretations neo-mannerist formulas chalked up by the vanguards, more or less historical. Paolo Nesta

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from 6 to 21 December 2014



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