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Antonio Belli since
ever wanted to refer to the realist painting, inserting in that team
of artists that in the after war felt strongly the themes of land and
work.
He lives since ever in Latium, in the Frosinone province, a land still
anchored to certain rituals of the patriarchal family and the country
civilization custom, and that have spur surely our artist toward those
poetical painting of strong figurative structure.
Not only a matter, but a set of themes, digging the real reasons of
his pictorial expression, objective images of the world, the presence
of the private story, of the working world, of the little native land,
of the agricultural world; all that highlights fruitfully his work.
Not less his merchant Franco Passoni that for years has invested and
make know his work in exhibitions all over Italy, of which the formerly
in Brescia at the De Clemente gallery undersigned in the catalogue by
myself, highlights as the work of the artist of Latium met the favour
of the public.
Subjects related to the working world, that maybe are, along with landscape,
the most interesting part of the pictorial production, digging into
personages by the means of a strong formal and technical insight, with
a matter turning into stain, and a finished hot and calm dream, rejecting
virtuosity and elegance.
But it is just this earth character of the colour composing this story
and this culture of the daily, and mainly the scanning of the plans
of forms and colours, or, if we wont, of the personages represented,
the knife sharpener, the farmer, the baker, the smith beating on the
anvil, putting in light the transfigured realistic expressionism from
which the beautiful has never detached, unless in those phases when
painting, for a certain period, has been affected by a certain, even
if the least informal repercussion of matter.
Recognizable among thousands his works just for the strong emotion of
colours, hot, sun, bright, burnt, with all the range of the browns.
His work must be ascribed just to those regional schools that in painting
have marked special ambits, already in the eighteenth century and in
closer times, in the second half of the nineteenth century, almost to
want to mark an ideal ridge of poetics and understanding toward those
values, later described on canvas, that face local landscapes, farmed
fields, awful taste things, crepuscular taste, and sometimes still more
analysed by a realist slant, anyhow sincere.
A story told for the painting: that is the Antonio Belli's one, discomposing
and composing plans and figures according to a pure plastic criterion,
introducing light escapes, spaces of pure chromatic vibration that without
falling in a banal naturalism configure a real consistence.
Belli's subjects sum up not only the values of a history of the land
civilization that permeates the entire South of Italy and that culture,
passing uninjured through that master Renato Guttuso was, burns a feeling
of topicality along with a sensibility, the utmost attentive to the
figurative experiences brought ahead in the Italian province in the
sixties and seventies.Works built at the sign of the compositional and
chromatic harmony and the use of the hot colours investigate the structures
of things in a functional way and the formal return, meaningful and
suggestive.
That of Belli, it remains
to say, is not a cried out realism, but the realistic observation is
almost plenty of a light spiritualism, letting see the soul of things,
objects and figures, and everything becomes transparent in the sense
it progresses at the artist's rhythm that irrepressible tells about
a world that first of all lives inside him.
Meaningful exhibitions, awards received, critic statements given over
years, all contributes to give him and to frame him along his long path,
narrated, thought and supported by wide approvals.
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Mensile di scienza
medica,attualita` e
cultura