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L'OPERA E L'UOMO byPol 

The pictorial art of this forly-something artist moves us to tears and touches our deepest feelings inasmuch as it suggests the urgency of an untiring soul-searching based on a strictly personal and surprisingly originai philosophical elaboration of the reality of man. Pardo Mariani, a.k.a. Dino, shapes his works with Ihe stark elegance of his style that discloses a pressing, unrelenting urgency to put across the gripping, enthralling expressive vigour of his soul. In his pitto-scultura there's always something that sets in motion his peculiar view of the world and its ways: it is an outlook thai is deeply embedded in his soul, as if it had been branded. The artist has been trying for a long, long time to dig out signs of life, to make sense of present times and give a flower to the future. 

By Camillo Bria 


His pitto-scultura deliberately sets out to denounce and reproach the evils that hold present times in their unrelenting and merciless grip. His works are the ultimate outcome of his creed and ideology based on which he looks at reality with sternly critical eyes, while, at the same time, he voices the man's urgency and desperate need to get rid of all burdens and dross io finally become a better, simpler, peaceful human being. 

 

CRITICS IN THE ARCADE
by Antonio Moro 


Pardo Mariani's "pitto-scultura" aims at lifting the anguish and distress of daiiy life up into higher dimensions. All characters and subjects depicted in his works strike fear and at the same time lead us to a critical meditation on the ills and evils of society. The eagle with the fierce talons, the predacily which is its trademark, these are all representations of a violence that seems to hit us in an utterly careless and unaware fashion. This is the political and social message that we can find in Pardo Mariani's works. His is an instinctive, spontaneous, off-the-cuff and free-spirited painting, splendidly unencumbered by foolish and unfounded ambitions and unfettered by seemingly intellectual mythicizations. The style, the colours, the shapes, these are the key features that convey with such moving brilliance the image of the artist who falls prey to a harrowing pain and agonizing in its grip, but still won't stop fighting to claw his way out of it and recover that inward serenity no man could ever do without. 

THE PAINTER'S STUDY by Prof. Serenella Gatti 


if we watch closely Pardo Mariani's works, we can learn a valuable lesson regarding today's painting: more specifically, it is not a mere photographic reproduction, but rather a thorough observation and at the same time, as a result of this observation, a personal interpretation of reality. In this case, we have a kind of figurative expressionism that outlines the depicted character resorting to strokes which are concrete and realistic and, at the same time, shaded and indistinct. Pardo is the painter of the two, everlasting and imperishable, masks of life: laughter and cry. They are easily found in the painter's favourite subjects: still lives, landscapes, old Bologna, human figures and, most of all, women. That explains also the purpose and the very essence of his favourite techniques, the "pitto-scultura", a kind of bas-relief, and the use of sunny colours: that warm yellow of his, the bright ochre, the crystal-clear blue, the ancient, fresh reddish.... If we dwell a little while longer upon his female characters, they appear naked, with quite realistic details, but never coarse, printed on canvass with stark strokes which serve splendidly the purpose of reproducing the characters' movements, both the external and the spiritual ones. These figures present us with an almost obsessive reoccurrence of the same kind of woman, seen through the screen of a contradictory male attitude, torn between a conservative conception and a more open-minded and unbiased one. What we have here is the pictorial rendering of inborn emotions stirred up by the sight of a woman, and also in the other paintings it's easy to find love for the various forms of life: it is a straight-from-the-heart language, simple and complex at the same time, made warm not just by the use of colour, but also, and most of all, by the underlying emotions and feeling. In all paintings we can "read" the genuine and candid expression of emotions; there is a yearning poetic atmosphere, somewhat melancholy, and there is also an original and noteworthy lyrical message.... Pardo's painting, provided that one is able to "read" it, ends up urging us to respect our fellowmen (respect in the most authentic meaning of the word), in a difficult moment of our present history, socially and politically speaking, and it achieves this crucial result by speaking both to our hearts and to our rational minds. This is, so to speak, the most suitable background that could serve the purpose of the proper reproduction of Pardo's world which, in turn, mirrors splendidly the feelings and attitudes of most of us and has received the gift and good will to speak to each and every one.