GIOVANNI TRUNCELLITO MARIA il noto ritratto della Callas - olio su tela cm 30 x 40 - click to enlarge
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Carlo Fabrizio Carli

The art of Giovanni Truncellito introduces us to a most particular neo-symbolist context, which can also pride itself for obliging one to reflect on the role and operative space that Symbolism occupies in contemporary art.
That fat that things were different, and very different, from the general opinion of only fifteen years ago; that is that the symbolist repertoire was, in effect, a conclusive stage, and actually concluded by languages and aesthetic attitudes, is markedly and ever increasingly confirmed by the interest shown in both historical research and operational experiences, the latter mainly referring to young and very young artists.
The important exhibition in Venice a few years ago dedicated to Puvis de Chavannes, revealed the exceptional influence that this artist had had on many "fathers of modernity", and ideally sanctioned this new perspective of criticism.
However - it was still a fundamental argumentation in a historiographical sense.
Truncellito is one of those artists (in no means isolated) who extract the earthly significance from Symbolism for their own ideas and then consequently re-propose it in a present day context.
For Truncellito the classical myth, and also contemporary myths have assumed an important role (think of the role, due to him being a music lover, that Maria Callas has had in his paintings, being an ideal and tangible go-between for the Ellade of classicism).
Gods (Pan), heroes (Guerriero Rosso), mythological characters (Orfeo, Ganimede, Medea, Alceste), Ellade and the Magna Grecia (Jonio, Sibari, Crotone), are alive in his paintings, and even though they are filtered through the screen of the great classic literature, they do not appear as a pretext for literature.
Who can be considered as painting references for Truncellito?. Definitely Böcklin, as can be seen in the subject and title of a picture: Risveglio (Aurora a Villa Böcklin). Even more explicitly Gustave Moreau and he who may consider himself the most stimulating of his students - Odilon Redon. And not the noir Redon, famous for his lithographic and charcoal works, a fascinating but at the same time disquieting anticipator with a surreal repertoire, and neither the Renon famous for portraits, distinguished by a compound measure and control which seems to lead to Dégas, but he, the painter of sudden, incandescent chromatic deflagration.
I would say, in fact, that it is the chromatic deflagration, assuming exasperated rainfalls of glowing gold, - that in Truncellito's pictures have the role of underlining the difference between the other dimension of the myth and that of the ordinary rhythm of a phenomena style reality - that forms the most remarkable characteristic, and personal note of the roman artist.
Among the references of Truncellito however, two Metaphysic Dioscuri, Giorgio de Chirico and Alberto Savinio must be noted. It is through their intercession (it is significant that in the compositions of our artist there is no trace of cruel surreal distortions, but rather unsettling estrangements), that Trucellito revisits the contemporary themed architecture, which de Chirico had ingeniously prefigured in his well know Piazze d'Italia.
The architecture which Muzio, Picentini and their followers had designed without any deliberate reference to the de Chirico style paintings which had preceded them twenty years earlier, but more as the result of a shared basis of style (concentrating on the simplification noted in the classic references); or more clearly the post-modern architecture, - deliberately - half a century later took inspiration from both the "painted" and "constructed" Metaphysic architecture.
And so the explicit matrix of paintings Algida voce, Il bel canto, Interludi.
Neither is one marvelled by such a strong and motivated architectural interest; it also due to a professional motivation, as Truncellito is not only an artist but also an architect.
I consider moreover that this architectural attitude is also evident in other works and particulars, as in certain mountain ranges that Truncellito depicts in his paintings (Medea) with a linguistic ability of a theatrical backdrop.

Carlo Fabrizio Carli


orfeo_UU.jpg (7155 byte)
RAPIMENTO dittico - olio su tela - click to enlarge
interludio_UU.jpg (7015 byte)














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