"I’ll make paintings as big as the sky"" - Pier Paolo Pollini, 1944

Testimonials

What was written about him...

 


... Immune to labeling, to compromises and donations, Pier Paolo Pollini is an indomitable free spirit who doesn't seek approval, doesn't follow trends or schools of thought because more than belonging, above all he wants his creations belong to themselves, with their own lives, their own original vis, that systematically opens messages made beyond the dominant mediums and modes.

C. M.

Cesena, June 2008


... Across the spectrum of contemporary painting the abstract hypothesis reaffirms the extinct depths of seeing, reintegrates his gaze to a natural ability to exist, by itself, according to its nature.

... The abstract is not a formula, it's a language in motion, allusive but also extremely precise in the horizon of his choices. It depends on emotion and on knowledge that the artist imprints through the elements of the painting, it's an event that calls for the comfort of sensitivity and intelligence. Traveling along this boundary means developing a sense of the vision that communicates with the elsewhere.

... PIER PAOLO POLLINI has a rhythmic idea of composition, something that recalls scores penned in large notes.

... A sort of dreamlike geometry populates these works: you're faced with a dance, but at the same time you're receiving the continuous motion of your feelings. POLLINI cultivates with particular happiness, the soul abducted, as if in ecstasy.

... Then the visible dimension expands, involves the unconscious matrix of seeing and the rational character of the composition, the balance and the fragmentation of the parts in play.

GIANCARLO PAPI art critic

Cesena, November 2004 


If this is the movement, in an ascending sense, as sometimes happens looking at the great altar pieces of the '500 and' 600, what is its content, or on which interior wave can we connect with the work, after our sensitivity, our feeling? I'd say on the wave of a desire even spiritual in ascent: choral, impetuous, like a joyful hymn itself, the transcendent power of spirituality.

... The works of Pollini it's not rare that they refer to images which for the artist, are the symbol of a hidden yearning inside nature itself. Pollini’s abstraction transcends the spectacle of nature because painting is worth nothing if it's not addressed elsewhere, in distant charms and silent splendors.

The enchantment takes hold of the story and the emotion dominates every approach, the poetry constitutes the essence of these works, a discreet and whispered poetry that develops aphorisms and that evokes visions of an mysterious other reality.

... They are works that bear witness to an extremely rigorous and precise path, an inward path which congregates not only sophisticated pictorial citations, but also literary suggestions, poetic charms, dormant emotions.

 

 GIANCARLO PAPI art critic

Cesena, November 2003


... Everything is organized in the paintings of Pollini with a fantastic freedom that ignores the weight of theories, as well as, the arbitrariness of the whim.

In the works of this artist the dynamic chromatic perseverance becomes the synthesis of life forms: each composition carries the intact eco of the artist's spiritual tension.

ENRICO GUIDI

Cesena, February 2001


Now we can say that Pollini also has a history, and I do not mean the simple tale of a path, or of a long and complex activity. It is instead, an intense story of the artist and of his works that are intertwined, and in time explain each other.

... It is no a coincidence that he has been chosen with few other Italian artists (ed) to be included in the international exhibition Dans la lumière du surrealism (1983 Provincial Art Gallery of Bari, where his Triptych The Other Omega takes place), which meant that, without deteriorated or anachronistic frameworks, he had collected the most important lesson of Surrealism, and certainly not the patterns exploited over time.

... He talked with the impossible, which meant eliciting concrete visions, inconsistent fragments of the whole reality, with the obligation to arrest them, to block them once and for all, and show the image: in other words the truth... and he knows he's walked in the first eternal moments of the creation of the world that never ends.

BRUNO POMPILI

Director Research Center Vanguards University of Bari

Bari, January 2001


The recent paintings of Pier Paolo Pollini have provoked in me a great surprise: in fact, they handed me the key - or, more precisely, one of the keys – of the work of this compelling painter. The said keys lay in the synthesis of Mannerism and Futurism in their most revolutionary aspects. I never thought there could be a relationship between these two movements separated by four centuries. And yet, this happened for me today with a dazzling evidence. He not only gives rise to a completely new synthesis of two movements of great historical importance - and I will add: of national importance for Italy - but that synthesis allows him to invent his own form of painting.


JOSE' PIERRE Historian and art critic

Paris, January 1985


... Certainly Pier Paolo Pollini, as he had already demonstrated with the Last Supper, is a great designer, as Veronese, Pontormo, Caravaggio and Tiepolo were before him (but I confess I think also, to Matisse's La Danza or the Chagall’s Homage to Apollinaire). Yes, what counts above all, for Pollini, is the painting... a vehicle of ideas and feelings.

 

JOSE' PIERRE Historian and art critic

Paris, June 1986

 

 

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