Artist

PIERO CRIVELLARI

PEOPLE AT THE MARKET, 2021

PEOPLE AT THE MARKET, 2021

dimensioni: 60 x 80 cm
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THE ASTRAKAN COAT 2021

THE ASTRAKAN COAT 2021

dimensioni: 50 x 70 cm
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ROCCA ARRIHGHINA 2021

ROCCA ARRIHGHINA 2021

dimensioni: 100 X 50 cm
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THE CHECK HAT 2022

THE CHECK HAT 2022

dimensioni: 32 x 33 cm
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VIAREGGIO 2022

VIAREGGIO 2022

dimensioni: 80 x 60 cm
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GIRL 2022

GIRL 2022

dimensioni: 27 x 40 cm
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THE RED BALLOON

THE RED BALLOON

dimensioni: 80 x 60 cm
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STROLL 2022

STROLL 2022

dimensioni: 40 x 50 cm
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ROCCA ARRIGHINA 2022

ROCCA ARRIGHINA 2022

dimensioni: 45 x 63 cm
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PIETRASANTA (Tuscany), 2020

PIETRASANTA (Tuscany), 2020

dimensioni: 100 x 100 cm
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BLUE OF PRUSSIA, 2019

BLUE OF PRUSSIA, 2019

dimensioni: 100 x 100 cm
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WAIT, 2018

WAIT, 2018

dimensioni: 80 x 60 cm
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DISCUSSION, 2021

DISCUSSION, 2021

dimensioni: 60 x 80 cm
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PIERO CRIVELLARI

A mosaic of the complexity of contemporary life, relational dynamics, and the often-conflictual relationship between an individual and the community is the scenario within which Piero Crivellari sets his own “tales of humanity”. Paintings with many figures – sometimes arranged to recall ancient friezes, other times placed like pawns on a chessboard – alternate with others more akin to portraits, whose focus is more on the expressiveness of faces. In the first case, the intent seems to restore a glimpse, if not a veritable “still image”, of the urban landscape, comparing the latter to a stage on which individuals move about, each playing a role, like a photographic lens that immortalizes both the totality and the details. Similarly, the artist’s eye captures a cityscape teeming with people in which individual figures emerge from this scene, thus shifting attention from the crowd’s shapeless faces to the distinctive characteristics of a single individual. We could define Crivellari’s work as a genuine “blow-up”, focusing on details – and sometimes even on their enlargement or color variation vis-à-vis the painting’s other colors. They serve to restore “humanity” and hence all of a human being’s prerogatives, even in ethical terms, to the faceless and nameless collectivity of the “global village”. In other words, dignity and importance are given again to the single person and the indispensable heritage of his individuality in a world that, instead, points increasingly towards the conformity of habits, lifestyle, and thought. In fact, Crivellari seeks to “unmask” the false myths of today’s society and to reveal the deceptive superstructures that our times have superimposed on the profound and true meaning of life up to its almost complete disappearance. Hence, Crivellari seems to say that the presence in his “non-portraits” of this dichotomy between faces and masks, between being and wanting to be, in an inherently incurable conflict to which only art can offer a valid alternative, underscoring the centrality of humans and the eternal power of beauty.

Daniela Pronestì