Giorgio Seveso
Italian art critic
Giorgio Seveso (Sanremo, 1944) is an Italian art critic and journalist.
Quotes edit
- Cézanne ha scritto una volta che i colori sono l’espressione della profondità delle cose giunta alla superficie, essi salgono su dalle radici del mondo. In qualche modo possiamo rispondere così a queste domande. Pettinicchio scava infatti nella sostanza della propria pittura, si lega in ogni segno e gesto del pennello alle ragioni e ai dati del figurativo per subito travolgerne l’ordine intravvisto, per alimentare nel fuoco di una tensione interiore assorta e affilata un panorama cromatico di efficace valenza psicologica, che figurativo non è più e che tuttavia diviene figura: diviene trasparenza, ritmo, consistenza interiore della figura. Il legame con il mondo, con la fenomenologia dei sentimenti e con la concretezza degli avvenimenti, è per lui, appunto, interiore, teso a definirsi sull’impalcatura stessa del reale, sulle sue pieghe e spessori più sommersi, più gelosi, più profondi, e i colori sono insieme la chiave di volta di questa ricerca e gli elementi di un espressionismo emotivo acceso e nervoso, in cui si riversano e s’impastano gli echi di passioni e dolori, di speranze e rivolte, di pacate quietudini e di febbrili ardori.
- Cézanne wrote once that colors are the expression of the depth of things that has come to the surface, they rise up from the roots of the world. Somehow we can answer these questions in this way. Pettinicchio in fact digs into the substance of his own painting, binds himself in every sign and gesture of the brush to the reasons and data of the figurative to immediately overwhelm the glimpsed order, to feed the fire of an inner tension absorbed and sharpened a chromatic panorama of effective psychological value, which is no longer figurative and which nevertheless becomes a figure: it becomes transparency, rhythm, internal consistency of the figure. The link with the world, with the phenomenology of feelings and with the concreteness of events, is for him, precisely, internal, aimed at defining itself on the very scaffolding of reality, on its most submerged, most jealous, most profound folds and thicknesses, and the colors are both the keystone of this research and the elements of a heated and nervous emotional expressionism, in which the echoes of passions and pains, of hopes and revolts, of peaceful silences and feverish ardor pour and mix.
- Giorgio Seveso, "Fantasmi di figure", 1972
- Cézanne wrote once that colors are the expression of the depth of things that has come to the surface, they rise up from the roots of the world. Somehow we can answer these questions in this way. Pettinicchio in fact digs into the substance of his own painting, binds himself in every sign and gesture of the brush to the reasons and data of the figurative to immediately overwhelm the glimpsed order, to feed the fire of an inner tension absorbed and sharpened a chromatic panorama of effective psychological value, which is no longer figurative and which nevertheless becomes a figure: it becomes transparency, rhythm, internal consistency of the figure. The link with the world, with the phenomenology of feelings and with the concreteness of events, is for him, precisely, internal, aimed at defining itself on the very scaffolding of reality, on its most submerged, most jealous, most profound folds and thicknesses, and the colors are both the keystone of this research and the elements of a heated and nervous emotional expressionism, in which the echoes of passions and pains, of hopes and revolts, of peaceful silences and feverish ardor pour and mix.
- Il procedimento creativo di Pettinicchio non è dunque mediato da intendimenti letterari. Egli non nomina i sentimenti, non cerca i volti delle emozioni che gli affiorano sulla tela. Ad ogni pennellata egli mescola tutto se stesso, ed in ciò giunge a farsi interprete, avvertito di ogni nostra quotidiana cronaca emozionale, ricercatore e insieme testimone dei nostri climi e delle nostre atmosfere. La forza di queste sue immagini e la persuasività delle loro suggestioni traggono sostanza proprio da tale valenza d’espressione, indefinita eppure riconoscibilmente umana, vicina a tutti noi ed al nucleo più intimo della nostra sensibilità di uomini e donne d’oggi. "L’umano sentire e l’umano provare” – come scriveva Renato Birolli nei suoi Taccuini – è la sponda dalla quale queste immagini e questi colori fluiscono in lente aggregazioni e dissociazioni, e verso cui tornano a sedimentare, a sovrapporsi, a rivelarsi nell’opera. Risalendo alla superficie della coscienza su dalle radici del mondo.
- The creative process of Pettinicchio is therefore not mediated by literary intentions. He doesn't name the feelings, he doesn't look for the faces of the emotions that emerge on the canvas. With each brushstroke he mixes all of himself, and in this he comes to be an interpreter, warned of each of our daily emotional chronicles, a researcher and at the same time a witness of our climates and our atmospheres. The strength of these images of his and the persuasiveness of their suggestions draw substance precisely from this indefinite yet recognizably human value of expression, close to all of us and to the most intimate core of our sensitivity as men and women of today. "Human feeling and human feeling" – as Renato Birolli wrote in his Notebooks – is the bank from which these images and these colors flow in slow aggregations and dissociations, and towards which they return to settle, to overlap, to reveal itself in the work, going back to the surface of consciousness up from the roots of the world.
- Giorgio Seveso, "Fantasmi di figure", 1972
- The creative process of Pettinicchio is therefore not mediated by literary intentions. He doesn't name the feelings, he doesn't look for the faces of the emotions that emerge on the canvas. With each brushstroke he mixes all of himself, and in this he comes to be an interpreter, warned of each of our daily emotional chronicles, a researcher and at the same time a witness of our climates and our atmospheres. The strength of these images of his and the persuasiveness of their suggestions draw substance precisely from this indefinite yet recognizably human value of expression, close to all of us and to the most intimate core of our sensitivity as men and women of today. "Human feeling and human feeling" – as Renato Birolli wrote in his Notebooks – is the bank from which these images and these colors flow in slow aggregations and dissociations, and towards which they return to settle, to overlap, to reveal itself in the work, going back to the surface of consciousness up from the roots of the world.
External links edit
- Encyclopedic article on Giorgio Seveso on Italian Wikipedia