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The city that rose

I lived mostly in cities, the urban landscape that is the best known, most are tied to it with memories and emotions. The three works that show here are three different times Underground Poetry: The above is the first dedicated to two great masters of urban poetry, titled "Edward Hopper vs. Mario Sironi. I saw the picture shown here in a reproduction, and loneliness m'aveva hit the cement. so brilliantly represented by Hopper, to recall that painted by Sironi, and it was in this spirit that I painted the picture on the memory of that photo that I had on hand, working with pointillist technique and a palette inspired by the American mood Sironi, adding a fierce tag that hurts the classical balance of each of the two masters, with the violent colors which we have become accustomed in recent years. The violence is the only color that tolerated, even in music.

Looking Belliss I Sironi Collection of Jesi in the Brera, in particular with a van, and a railway station seen from above, I am persuaded more by the presence of infinite affinity in the urban landscape of both the Masters, I know nothing each other.

The second work is a small part of '96, cm.20x25 or so, I can not remember if it was painted with tempera or whether one of the first of my return to the oil. I remember coming back from a sunset Thick Po, where I was going to challenge the league, along with what was to become his wife, returning to the city through the extreme periphery, where some vegetation was still prevalent through which were the first houses appeared high, feeling the presence of a city down below, absorbed by the effect against a filigree gold sky was fading to darkness. It has always fascinated me contoiluce these effects, but do not paint often, perhaps fearing to fall into the trivial, or because I am always with many visions to materialize, and the scarcity of time (considering that I've wasted, for a guess, a twenty years of the best) leads me to prefer.

cm.18x24 format is the last piece that I titled "The city has risen," to collegrarmi once more to the future, ironic take on the look of cubism giottesco enough to turn the old houses to skyscrapers in the background, but in the end it's just painting.