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PASOLINI PITTORE
Galleria d
dal 14-10-2022 al 16-04-2023
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Pasolini painter

14/10/2022 - 16/04/2023
Gallery of Modern Art

To mark the 100th anniversary of the birth of Pier Paolo Pasolini (1922-2022), a major exhibition focuses on Pasolini's painting skills and contextualises them within the history of 20th-century art. Two hundred or so works, most of which come from the Gabinetto Scientifico Letterario G.P. Vieusseux in Florence, repository of the most important collection of works by the writer and director, starting with Pasolini's pictorial beginnings, which go hand in hand with his first poetic works in Friulian. Paintings and drawings that reconstruct his artistic career, also thanks to the presence of a fundamental nucleus of works from the early 1940s, produced in Casarsa della Delizia (PN), from where they arrive in the exhibition thanks to the collaboration with the local Pier Paolo Pasolini Study Centre. Portraits, still lifes and landscapes with a strongly intimist and familiar flavour through to the series of young boys portrayed sitting, lying down or with flowers which, from another point of view, document the exceptional artistic experimentation of the young Pasolini...

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br />A special focus is devoted to the Bolognese creative environment of Il Setaccio, the monthly magazine of the GIL, Gioventù Italiana del Littorio, in Bologna (November 1942 and May 1943), in particular on the drawings by Pasolini and Fabio Mauri, produced for this magazine. This proves the determination of a friendship, which is also a continuous exchange of ideas, and Pasolini's growing passion for art history. A strong interest, also born in Bologna around the pivotal figure of Roberto Longhi, whom the writer asked to write his degree thesis on 20th-century Italian painting, from Carlo Carrà to Giorgio Morandi and Filippo de Pisis, artists he himself loved very much.
From the 1950s onwards, his arrival in Rome, writing and cinema became for Pasolini the time for an increasingly fervid melting pot of artistic and creative experiences that would partly, but only partly, distance him from painting as a practice but not as a conceptual progress and technical interest. This is reflected in many of his little-known writings dedicated to painting itself.
In these years, Pasolini's interest in the subject matter, his confrontation with the contemporary world and the specificity of portraiture became the identifying features of his pictorial reality in continuous progress and very often dedicated to his "best friends". From the portraits of Ninetto Davoli, Maria Callas, Laura Betti, Andrea Zanzotto, to the series of drawings dedicated to Longhi. These are all works from the 1950s-1970s that clearly underline the semantic value of Pasolini's reproduction of the human body, always carried out with great stylistic coherence and still of Longhi extraction.
These works also reveal the continuity of Pasolini's pictorial practice and the technical obstinacy with which he confronts this production as a protagonist. Moreover, the artist is always more interested in "composition" - with its contours - than in the material", in line with that pictorial phase of Italian art which, precisely between the 1960s and 1970s, was increasingly defined by the civil commitment with which it was saturated.

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