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by Camillo Bria  


...his "pitto-scultura" vigorously denounces the evils that haunt and afflict our society. His works are the ultimate outcome of his ideology based on which he looks on reality in a strongly critical way; they symbolize  the artist's will and hope to get men rid of all burdens and dross and eventually turn them into better, simpler, peaceful human beings who loathe every form and display of violence.

by Franco Bea 


... .Pardo Mariani's "pitto-scultura" takes shape as an extremely personal and original expressive choice that crosses the traditionally accepted boundaries of sculpture and painting by blending them in a single, charmingly captivating combination which is abreast of the most innovative tendencies at work in today's art backdrop...

 

by Gregorio Viglialoro


...he is a painter who, blessed with that pure and articulate artistic language which is the distinctive
feature of all self-taught artists, utters his worry and anguish over the existential rubbish today's world is swamped in by bringing into play chromatic outbursts that glorify the poetic virtues of his pictorial tales. The terror, the distressing fears, the meanness and selfishness, the whole wide variety of violent acts we are faced with day in and day out, all these are key topics of Mariani's existential and philosophical quest and he brilliantly ennobles and dignifies them thanks to his inborn sensitivity and the smoothness of his stroke: what eventually meets the eye is an astonishing harmony of shapes and colours which never fails to strike as miraculously sober and disciplined and yet, at the same time, compelling, insightful and perceptive. It is the "man-poet" who pledges to rescue his own lost peace of mind and gives utterance to his pain in depictions gifted with an out-of-the-ordinary expressive punch.

from the water - a symbol of life - , other female figures look as if they are grieving and sad, possibly aware of the critical and delicate role of social balance that they are expected to take upon themselves.
The numerous exhibitions of Pardo Mariani's works, in Italy and abroad, often rewarded by success and acknowledgments of all sorts, also represent a vantage point where one can stand and
look at all the settled technical experiences    what strikes the most, in some of the canvasses, is
the intricacy of symbolism which the artist entrusts with his message: the tableau "Le stagioni della storia" ("Seasons of history") pictures a huge marble that shatters the trees - i.e., nature - with its weight. The statue of a woman in the foreground symbolizes the past, unvarying and irreversible, but also our society that remains bound to its conventions. Nevertheless, somewhere on her body arboreal roots sprout, thus suggesting the author's hope that the longed-for renewal is about to come along. In the background, a temple combines the ideas of worship and art, which seem to be regarded as mankind's permanent, eternal, crucial points of reference, yesterday as well as nowadays. 

POET AND PAINTER
by Anna Vittoria Arace D'Amaro


Among the many poems collections I happened to read lately, I could surely appreciate Pardo Mariani's as one of the most interesting, thanks to its wealth of themes and intensity of feelings.
Unfortunately, reviewing a book calls for a terse and concise style that usually ends up not doing justice to the most subtle details and nuances. Still, we can't help but dwell upon this poetry work to highlight - even though only to a certain extent - the thriving profusion of motives enlivening these pages, in which the world around us is always depicted as a lush landscape, blessed with plenty of values and set in a spectrum of chromatic hues and rhythms that never fail to hold the reader spellbound: "I take it in ever changing, every moment; I grasp it transmuted out in the open, in movements that augment our wellbeing". And more: "1 am in the breadth of happiness that is all-embracing breadth, too, true ways of our people". Just like those journeys conveying the feeling of a dizzy compound of all distinctive features of the farthest and most different places in the world.
Let us linger a little while upon the poem "Ave Maria" ("Hail Mary"), where the poet's grieving humanity finds consolation in raising a hymn of filial love to the Virgin, to whose loving Mother's heart he entrusts his sorrow:
"Listen to my crying, sanctify it in days of anguish!" resting assured in his faith that: "Angels carry bitter tears of sorrow high above".

Yes, this whole collection is resonant with feelings of love and solidarity, and the reader, as he follows the poet's lead, catches himself experiencing momenLs of sheer inner peace, a sort of premonition of a better world, far away from the anxiety and the restlessness that keep haunting and afflicting the human heart.
And who else but a true artist such as Pardo Mariani could attempt to portray visions of which now the magic of his paintbrush, now the poet's pen, are so wonderfully good at granting us signs, figures and rhythms that thrill our souls? Let us listen once more to a few more lines: "You are not time, you are eternity and to me you are life!"
In times like these, when we are swamped in poor and colourless displays of self-styled art (in all its various branches); when genuine and authentic inspiration seems to be either lacking or drifting further and further away from moral principles; when moral principles of nowadays seem to show less and less respect and consideration for human nature, which in turn appears to be no more than a faded and dull image of what it used to be; then we must cling with deeply felt thankfulness to this priceless jewel of artistic and human values, the poems collection of Pardo Mariani, poet and painter.