It is some years that the painting of the most significant maestro of the Lombard art, has endless consents, not only by the cultural point of view of art, but also on the side of collecting, thanks to the contribute the most established critics have given him and the strong support an art investing house as the “SANGIORGIO srl” of Bari, of great professionalism, has put beside him. For whom as me is active within the art filed since as far as thirty years and could follow all the beginning developments of a painter, he has finally found in his painting not only his own style but the real sense of the poetry bearing it and embodying in it. More than others he has introduced in the Italian landscape he represents, a praise to life, handing the Italian history of art that meaningful presence as a Domenico Purificato’s equal, who represented too his Ciociaria land, or a Vincenzo Ciardo’s equal with the olive groves of his Salento, or Guttuso’s with the Sicilia plains, till the Grizzana by Morandi. Nando Chiappa has preferred the lands of Lombardia, leaving behind the clear atmospheres, and connoting its landscape with that chromatic capability, strong and quite, where all the bucolic system lays down over seasons, overlapping to give visual voice to springs, autumns, winters and summer time. The passing of seasons in the Nando Chiappa’s landscapes lives of a light, piercing canvas, embellishing them, turning them tender, catching its intensity that is as suspended thanks too to those girls in the prime of life, French alike, or little servers having already made history since a lot of time. Our painter belongs by right to “the Lombard school “ where he grew and he trained pictorially, reporting his popular and fairy-tale world in a tale of myths, legends, costume. In the canvas, in his paintings it is as he has put his heart in, his distinction, the world of his values, a Lombard world that is at the same time a landscape of mind and heart. For all that, for the apprenticeship he had with the maestro Spreafico and Pivetta, for the tens and tens personal exhibitions, organized both in Italy and abroad, having had always a remarkable interest by public and a critics success, for the prestigious awards conferred to him, Nando Chiappa is today one of the most interesting artists of the Italian artistic panorama, the painter of landscapes, the most creative and emotional, talking at everybody’s heart, and mainly inserting the great landscape painting of our century on the traces of the nineteenth century painting, reckoning Tranquillo Cremona and Daniele Ranzoni among the Lombard. The shades of colour of this painting, all impressed and so impressionist for all that emotive capability only a poetical bent succeeds in moving and sucking in, own not only the ability to reveal the mastery and the research of our Lombard painter, as well as the stress on tonality do, the changing appearances of a landscape pierced through by a very perceptible light, sometimes more softened, sometimes more solar. Nando Chiappa is a painter but overall he is the poet of landscapes, nobody better than him among our painters has knew how to read, animate and interpret the beauty of the Italian world, wrapping it up with that somehow of fairy-tale, mysterious and surprising primitiveness and poetical candour, the same Pascoli felt from the “little boy”, admiring enraptured and astonished the marvels of creation, from the sky plenty of stars to the meadows wrapped up with flowers. Very beautiful the spaces plenty of flowers, the fields full of flowers, embellished by poppies, calendulas and iris. In these foreshortening the artists highlights also his choices and mainly his values, here it is the meaning of the little server, or of the mothers with children, or also of the “girls in bloom “ to say it along with Proust. There’s a whole agrestic and bucolic world put in light by the Lombard painter, the world of the rural civilisation already left by the most and became a memory only for our forefathers. That’s why describing and representing the Lombard country, the farmhouses, the rural architectures, meant for our painter as inscribing his work in a sort of history of the Italian landscape, alike other well-known colleagues who, as Romano, among them, of the University of Turin, have happily focalized. One will be surely moved by this immediacy of tale and colour, but one will be mainly moved by the poetry rising from anywhere in his paintings, by the peace that is the real and only discover in life. 

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