pietro del corto

Versilia in the Heart and in the Brush
Figurative but emotional painting is on display

 

HIS WORKS REVEAL AN UNCONDITIONAL LOVE FOR
HIS NATIVE LAND AND THE COLOURS OF
THE SEA AND OF THE APUAN ALPS
THIS IS THE PLACE WHERE THE ARTIST
SEES HIMSELF AND CAN BREATH DEEPLY,
FAR FROM CONCEPTUAL DETOURS

 

 

A passion is such only when, in the presence of the troubles of life, it retains all its vital appeal; passion is deeply rooted in those moments, when the colours of what surrounds us turn more vivid, air is suddenly cooler and “tomorrow” becomes just another word among the many meaningless ones we hear and say on a sultry summer day. Del Corto’s painting was born on such a day, during his juvenile years, which he spent on the seafront of Lido di Camaiore (then still known as Fossa dell’Abate). It was there that he decided what he wanted to do in his life: the mixed colours on his fingers and on the sun-heated asphalt, the smell of chalk, the rough feeling of the papers he scattered on the surface of the road, and then the admiring gazes of those who stopped by to look at his talent. This is how he met two great, unforgettable masters of Italian art: Gino Magrì, the painter from Catania who was also a family friend of his, and Galileo Chini, the marvel of Italian Liberty. Actually, Del Corto’s painting sometimes features tonal effusions that can be traced back to Chini’s most dreamlike works, to which it is still quite hard to resist. However, his works are more obviously dominated by a great attention to graceful, elegant and delicate human figures; at times, they are drawn from academic studies on large Renaissance models, at others they are in line with formal observations that are close to symbolism, but which generally convey little more than just an idea, since he is also attracted to a relationship with a land he has always lived in and that never forgets to take notes. In many ways, even in these present times, his painting actually appears too honest and never fully convinced by empty aesthetic research; this is a kind of painting in which figuration is just a formal excuse to surrender to the pursuit of emotional narrative. His native Versilia – that strip of land that divides and unites at the same time – is absolute love; it is the colour of the Apuan Alps that seep in the salt of the sea, it is the smell of the wind and the quiet of a place that has remained unchanged. In his works, he alludes to a metaphysical, reflective space, and defines it through perspectives that have more in common with the memory of an instant, than with actual reality: this is the place where the artist sees himself, where he breathes deeply and organizes his thoughts, far from any deceiving conceptual detour, in which Del Corto shows no interest.

 

Francesco Mutti

 

 

 

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