In this section you can see the original critical writings….Click on the preview image for a correct reading

Written by Mario Delitala to present a solo exhibition by Antonio Pala in Sassari in 1968:

Critical writings of Antonio Ciardi Dupré:

Excerpts from critical writings used for text presentation to a solo exhibition of Pala, held in Venice in 1973 at the art gallery "hedgehog":

Written critic Puglia Vincenzo Jacovino of 1984:

Faculty of Humanities

DEGREE COURSE IN ART HISTORY

ANTONIO pale (1934-2002)

FOR A THEORY OF READING THE ARTISTIC PRODUCTION

Supervisor: Prof.ssa Maria Luisa Frongia

Thesis of: Myriam Deidda

Anno Accademico 2009-2010

In this section you can read the entire thesis

To view these ABOUT CLICCA

Antonio Pala willingly attended the younger painters, and it was not uncommon to encounter someone at their easels, o i suoi lunghi silenzi. Ad essi, and painters today, we are ideally addressed when choosing from that broad material that makes it alive, ai nostri occhi, his atelier, che lui chiamava ‘studio’. In questi ultimi anni abbiamo ordinato e classificato per tecnica, period and size of the works in our possession, rintracciato quelle di proprietà di altri privati o galleristi, retracing thereby also the moments of critical favor met, years, from these works; ne offriamo così in appendice dei brevi stralci. Ci teniamo qui a ringraziare sentitamente il Comune di Laerru, country of origin of the artist, che ha contribuito a finanziare l’uscita del presente catalogo, e l’Associazione culturale Malik, which also is committed, obtaining funding from the Province of Cagliari, per sostenere una attività di ricerca volta non solo all’inventariazione delle numerose opere, ma anche allo studio da parte di esperti.

His wife Anita and their children Paul, Sandra, Brunella, e Valentina.

]]> http://www.antoniopala.it/web/franco-fraoni-sindaco-di-laerru/feed/?lang=en 0 http://www.antoniopala.it/web/mauro-manunza/?lang=en http://www.antoniopala.it/web/mauro-manunza/?lang=en#comments Sat, 30 Nov 2013 17:03:49 +0000 alexdexadmin http://www.antoniopala.it/web/?p=397-en Continue reading]]> FINAL REPORT ON THE WORK PROJECT under the "Research and study on 'Opera del Maestro Antonio Pala" (first year)

That time, slumped in a chair, Antonio Pala stared at the floor, Anita, his wife, gasped worried. She had spoken to him and received no response. Lui era
absorbed, seemed alien to everything and everyone except a tile: after a long walk on distracted, suddenly had noticed that those geometric markings, those reasons just mentioned, those colors become muted and worn from being walked home were animated by a vital force of inspiration. He stood, reached the easel and prepared brushes and palette. There was an episode inconsueto. Antonio Pala drew creative impulses shapes seemingly most ordinary and the most unexpected moments: a view from the window, A meeting on the street, una pietra, a forsaken bough. The poteva, brought home a piece of wood or stone and studying contours, physical complexion, chromatic elements, light reflections. Meditated, then modeled, or sculpted, or whittling, o dipingeva, transforming impressions in new figures. If not for him as "meditative artist". Chased his thoughts, reflected, parlava poco. Its strong confidentiality, for those who do not know it thoroughly, could be mistaken for introversion; but to discover the true character needed to see it in the family, delicate, jovial, high spirits with his wife and children. Dear colleagues, generous to all. A man from another time. Toeddu Pala affectionately called him in Laerru, where he was born and where he returned - between old friends - whenever he could. From Laerru had to get away very soon, in order to pursue their studies. Only twelve years old he moved to Sassari, where he took the road of his aspirations by enrolling at the Art Institute and winning the attention of renowned artists such as Filippo Figari, Stanis Dessy, Mario Delitala, Eugenio Tavolara. Of which in the early days he was influenced style, first to break free to express that kind personal and unique that would characterize his long career as a painter, designer, engraver, sculptor. So, in the footsteps of the great artists of the early twentieth century Sardinian, he broke big in the second half of the century, contributing to the complex task of renewal pictorial game by Mauro Manca and ride the new recruits, emerging young, I decided to get rid of a historicity worn, stifled by repetitive mixes "folk" and engaged in a naturalism however anachronistic. But with the movements of the period ribellistici, Pala had nothing to do. Also because there were not many direct contacts between him and peers who worked in Cagliari and Sassari raising scandal among the traditionalists related to "good painting".
When they were born in the capital and intersecting groups "Studio 58" (Pantoli, Time, Mibelli, Ized, Rossi, Brundu, Ugo) and "Initiative" (still Pantoliano and Brundu, with Staccioli, Mazzarelli, Fantini, Agus, Casula), and when the impatience factor "Sardinians" theory was in the academic and critic (Corrado Maltese, Mario Ciusa Romagna, Francesco Masala, the young Salvatore Naitza), Pala viveva a forzato isolation to Teulada, country geographically close but culturally distant from the ferment of the modernist city. A 28 years had obtained a teaching post there and came perhaps only the echo of the industrious swarm neoavanguardistico who meanwhile also transformed the art school Sassari. E purtuttavia marciava in parallelo, excluded from the debate, subject to influences, devoid of theoretical and practical models without stimuli. Confined to his hermitage sulcitano, He had plenty of time to paint, nor was short of subjects. He looked, thought, created, moving along a line too unconsciously demystifying. Stimulating for artists such as Biasi, Goats, Here (and returned from each according to his interpretive key), Teulada proved to be no less interesting for Antonio Pala, depicting people and landscapes, angles and contexts in his own way: not joyful or solar, nor ethnic, nor celebratory. Unlike his eye, compared to the other, why not retinal but psychological, driven by conviction and realistic tones consequently raw. Dominate, in this period, severe scenarios and subjects, brushstrokes pasty, dense colors, dark, soberly Terrosi. Faces academically imperfect, yet realistic. The address is clearly expressionist and in this way he walks Shovel with decision, attentive to the human environment and loneliness of spirit. Spalle curve, head sunk, faces pointing in different directions, four men resigned in velvet and cloth cap, faces afisionomici, sit around the table in the tavern, glasses of wine in hand, each prisoner of his own hermetic individuality, crushed by the weight of common problems but incommunicable. Brown dresses, brown table, anonymous background of shades of brown. A sad picture. They said "Sad, too sad ... Change!”, e lui sorrideva. He went on his own came time to change mood, and this happened because his role as a teacher led him to Cagliari. It was the 1966 and finally the cominciò respirare fresh aria, although over the years teuladini they had not missed all relations with the artistic. After his debut in Rome in '57 (in a youth art exhibition when he was just 23 age), had been involved in Cagliari in a couple of group shows the first of which the Friends of the Book, at the invitation of Nicola Valley; and he realized that his paintings recalled interest. It did not take long to set up his official inauguration (in the Upper Room 1960): first solo exhibition in a long chain that in the next half-century would have been appreciated not only in Sardinia but in Tuscany and Veneto, in Campania e in Puglia, in Umbria e in Lombardia, in short, a little 'everywhere in Italy, with important steps in Rome and Paris. With the changing of the artistic climate together with the social and political, in the decade between the Sixties and Seventies, mature the new mood of Toeddu Pala, who is organizing the workshop in Via Oristano. Have a printing system, so as to meet on their own passion for woodcut and etching. At that retreat smokes a lot, takes a lot of coffee, works among the many pastas oil, bristles, pencils, charcoals, sgorbie, tablets-matrices, chalk, scalpelletti, wood in the rough. Receive and exchange impressions with artist friends (Valerio Pisano, Leo Pes, Piergiorgio Gomez, Rene Rejinich). The most obvious change is in the outcome of the brush. It lightens the weight of the color, while emphasizing the concern of the sign and it shows attention to social events, the existential anxieties, meanings. In the creative transformation, Blade undergoes a striking representation of non-realistic, often indefinable and haunting as a dream. A bad dream is for example the Apocalypse (1976), represented in a nightmare scenario with Death riding hanging on buildings on fire and fierce crowd movement in a panic. The metamorphosis in style is a symptom of orientation towards certain human values ​​that the artist sees around him corrupt and that henceforth ideally try to recover with a new visual language, albeit consistent in choosing antitradizionalista. The grotesque soon gives way to the restlessness of the form, almost to the contemplation; chromaticism clouded clears the net but serene serenity of colors; deformed traits are softened without losing the cutting synthetic and angular profiles. The scenic apparatus loses drama, buy physical space and psychological calmness in the breath. In this renewal of aesthetic Antonio Pala highlights themes that are dear, by religious spirituality (transmitted for evocative images and sacred representations) the literary symbolism (see the series quixotic), by an interest in the still life to the poetry of the landscape (Boat, boats, views of Cagliari). It gives life to unpublished content, inventing a feminine universe that has few parallels. Sensual women, women dreamers, strong women, Amazons and Angels, confuse tra realtà e mito, impenetrable by the expressions, in their elusive transcendent mysticism. Women ambiguous, Quiet, religiose and profane, told in real estate poses and looks away, immersed in the rarefied atmosphere and unreal, which shows the strength of the arcane feminine charm. A world at Delvaux, apart from the absence of pictorial style between the Sardinian artist and Belgian. Gives sole, or in a group but closed in on themselves in a common atmosphere of dreamy melancholy. One looks away, a law in a quiet small railway station, other orchestral instruments playing classical, others sing in front of the lectern - and seem to hear melodic polyphony dedicated to the deity. They are everywhere, among the arcades of the city and over the roofs. The angel violinist caressing the strings hovering in the celestial waves of wind that are mixed up with those of the sea So Cagliari is suspended in limbo land sea sky light, cradled and protected by its imaginary women. Pala also flies him, idealize in terms fairytale figures and scenes described with a sharp-edged and vague primitivism that it exacerbates the distortions; told with the taste of soft colors flattered by the wealth of lights and contrasts. And so it hovers in the realism of the subconscious attitude expressed in the symbolism of the unconscious dimension hooked the enigmatic surrealist. He is no stranger to so much creativity and inspiring new space that has meanwhile gained a few tens of meters from his home in Piazza Gramsci. In the eighties it has detected a ground floor apartment in Via San Lucifer; knocked down the partitions and transformed those hundred square meters in a vast, load objects, diamonds, sculptures, a hermitage protected intimate and full of vitality, Operating silently. There is in perfect ease, you talk in the morning and evening since he left school, draws, sculpts, paints. Now the paintings are larger and (preferably) tables on which the brushes passes. E 'in this oasis hushed and inviolate - in the heart of a lively and congested traffic - it takes the body a work of the most beautiful and amazing: is a great Christ on the cross, measures of natural, the physical torn, the suffering face but bright serenity merciful: a masterpiece of strict adherence realistic that conveys emotion and spirituality. Gliel'hanno asked Laerru, he carved in wood with talent commanded by heart and donated to the parish church, which now also boasts a Via Crucis extraordinarily effective artistic and religious: fourteen paintings, made in oil and mixed media, that tell an impressive anguish of Calvary, exciting in its plastic expressionist language Toeddu With these works, the soul remains forever in Laerru, as if he had never been away. He wanted to return to, perhaps, in the last years of his artistic maturity that produced a massive quantity of paintings, sculptures, drawings, inks, tempera, charcoal and white lead, decollages, monotypes accurately machined to press, incisions that are still poorly understood despite the robust thickness and crew. I mysteries, 1987, linocut, 50 x 70 cm Venere, 1987, linocut, 50 x 70 cm You may think that a form of mental privacy, magari timida modestia, prevented from entering because the author to make them circulate in the history of the proud tradition of engraving Sardinian. Shortly views, but there are, and leave impression that at least in the channels of private collectors who often escapes critical analyzes official. Certainly he was aware of the quality of his prints, but he preferred to focus primarily on the expressive power of the works in oil, and those who were entrusted to the gallery Peppino Floris who understood the value and supported him in the difficult art market. He had understood immediately, since the times of the school Sassari, Mario Delitala. "He needs to be inspired by the human element", wrote many years ago in an acute critical page in which he stressed the vigor of gesture stroke, the "right fit without meaningful concessions to rhetoric", the "constant understanding between design and expression" and the power of the "recreated through their emotions". In fact: Antonio Pala recreated reality soggettivandola and figuring the invisible. It was an intuitive ability with which he expressed himself innaturata. "Non, I propongo a theme", ci disse una sera: "Every time, stimulated by a thought, start a conversation and let me conduct reflecting on the diversity and charm of the occasional topic. He pushes me to the need to paint ch feel that what I see ". Address deceptively simple theoretical. To translate it into practice will need, genius, technique, experience, culture, qualities which he focused on fatigue. Struggled for hours, e anche si divertiva.

The Archbishop inaugurated the art exhibition to help Bosnia

Arts and Culture for the soliderietà is the theme of an exhibition of contemporary artists who will be inaugurated today at 18,30 in the art gallery’ La bacheca ', in Via dei Pisani. The initiative of the association’ Mother of the peace of Cagliari ', which will donate all proceeds of the show to the refugees of Bosnia and Herzegovina. The association has long been involved also in terms of distance adoptions of small profughi.All 'meeting will be attended by the arciverscovo Ottorino Alberti and the President of the Regional Council Federico Palomba. The exhibitors at the art gallery are Andreina Argiolas, Franca Assali, Renato Boi, Gabriele Cancedda, Annamaria Caracciolo, Agata carubelli, Emma Casula, Tonino Casula,Ines Corona, Liliana Corrias, Attilio Della Maria, Maria Luisa Delzotto, Michel Desantis, Karel Ebas, In Farris, Nazario Fusco, Sandro Giordano, Stefano Grassi, Luciano Milk, Angelo Liberati, John Mesano, ‘ You ', Susanna Manca, Mario Massa, Italo Medda, Marisa is what, Raphael Meloni, Mirella Mibelli, Aldo Montaldo, Anna Mundus, Wanda Nazari, Ignatius Orru, Antonello Ottonello, Antonio Pala, First Pantoli, Corrado Pau, Lella Pedrazzini, Leo Pes, Joseph Pettinau, Giovanni Pisano, George Podda, Rosanna Rossi, Nilso Maria Spissu, Filomena Spissu, Gemma Tardini and ebas Karel.La exhibition will remain open until Friday, (from 18 all 21).

Visions of the brush, two exhibitions in Cagliari

What spaces exist today because a contemporary painter can tell his work and how much the critics have defrauded them of this possibility for them inventing a language of codes and symbols? On the basis of this hypothesis, between now and 6 November, gallery 'Noticeboard’ Cagliari is home to a collective of artists Cagliari (Gianni Atzeni, Attilio Della Maria, Italo Medda, Mirella Mibelli, Joseph Pettinau, Lucian Soro, Italo Utzeri and Joseph Vargas) different in existential passions and by age but united in continuing research on the level of abstraction. A search in which "there are no boundaries between subject and object, between the natural and supernatural, between wakefulness and sleep. "From the angry outbursts of poetry Mirella Mibelli productions
materiche Gianni Atzeni, deformations surreal Attilio Della Maria to reforestation visionary Italo Utzeri, Luciano and Joseph Soro Pettinau, to arrive at the artist's books by Italo Medda. Cagliari is not a great city, its historic center can now contain him in a fist. And if at the end of Viale Regina Margherita, Via dei Pisani, Patrol Abstractionists comes to terms with herself on the Bulletin, a few hundred meters above, the promenade deck of the Bastion, is the visionary, in some cases the figurative oleography to triumph in dedima show Vivicastello, still visible until tomorrow sera.Sul theme "Man and environment in the planet Sardinia», you can find paintings by Antonio Atza, Francis Becciu, Franco Bussu, Vittorio Calvi, Anthony
Corriga, Michele De Santis, Manlio Masu, Antonio Pala, Leo Pes, Giovanni Pisano and Sisinnio Usai. Sardinia and the harvest of marine, dei sogni opulenti e colorati e delle bagnanti disegnate apposta per far rivivere una memoria che non c’è più e ad alcuni morde ancora.

Marine Walk

Put the promenade deck of the Bastion of Cagliari a bit of old photos, some radio and vintage automobile, a powder’ artisans and maybe even a series of films on Amedeo Nazzari. ViviCastello still exhibits the paintings figurative painters fourteen, later reduced to ten mistakes organizational, presented within the decade-long painting exhibition. Pictures of all authors and hobbyists more or less famous and quoted, meet the tastes that much of the general public due to the nature of the persons providing, are marine Bosa, as the two oils Antonio Atza, or bagnanti, lush trees, scenes of harvest as, respectively, Antonio propose Corriga, Manlio Masu, Michele de Santis, Leo Pes.Ma even where the language becomes bolder, as in the geometric shapes of Francis Becciu, landscapes of Franco Bussu and Vittorio Calvi, the daughters of Antonio Pala and abstract shapes Sisinnio Usai, the reassuring contact with the non-figurative
is never lost sight of. Certainly would have added something works, in the catalog, the great absent Rosanna Rossi, Mirella Mibelli, Giovanni Pisano and Angelo Liberati; Next, as to the motivations of their accession and the subsequent withdrawal, the impression is that of a last-minute rethink, a powder’ too late and a little’ poco serio.

Antonio Pala and his women

A painter between motherhood and Bacchae, sacred and profane impressive Way of the Cross by Antonio Pala will be the pride of a church somewhere in Sardinia. Fourteen paintings (oil and mixed media), one station, Calvary of Christ seen, participated with heart, eyes, ears, l’anima: the colors of horror, the thronging of the excited and shouting crowd,it, the groans of those who bear the cross, the hoarse cries of the militia, il lamento soffocato delle donne di Gesù. Cruelty, pain, pietà messi in cornice. L’anonima collezionista che ha acquistato l’opera ha soltanto detto «è il mio regalo a una chiesa». Where, when, is still a mystery. Ma intanto la Via Crucis dell’artista di Laerru è esposta al pubblico. Può esser vista a Cagliari per una decina di giorni ancora: is part of the exhibition in the 'Gallery 13′ Peppino Floris, Via XXVIII February (aperta mattina e sera tutti i giorni fino al 30 March). Per Pala è la cinquantesima personale in oltre quarant’anni di percorso artistico che gli hanno dato soddisfazioni importanti nella scultura, in the design, nell’incisione e nella pittura. It is not surprising to know student Figari, Dessy, Tavolara, Tilocca, his teachers when he attended the
Art school in Sassari. Since everyone has absorbed the dignity, il, technique, Class; di ciascuno di essi ha assimilato i caratteri, fondendone i linguaggi per approdare a una cifra pittorica spiccatamente individuale. Antonio Pala è difficilmente accostabile a un genere categorico. In his paintings it is possible to perceive the formative elements of realistic art aimed at symbolism,it. Mario Delitala osservò che Pala rivela il vero ricreandolo attraverso le emozioni: "The colors with which it is expressed are dense, pasty, e in essi fa scorrere la scivolosa spatola o la dura setola del pennello per ricavarne luci e forme che danno alle sue opere ad olio un aspetto di sintetico primitivismo che risponde, d’altronde, al suo carattere schiettamente lirico di uomo quanto mai semplice…». In questa sua realtà filtrata dallo spirito si leggono caratteri antitradizionali rispetto alla prima metà del Novecento pittorico sardo. There is also some’ Guttuso, if we want to, in its raw figuratismo, nell’energia del tratto, in determining Representative, decided in chromaticism, in sunny landscapes, nella sensualità dei personaggi. Women, in preference. Le donne sono molte nella ricca rassegna proposta in questi giorni a Cagliari. From motherhood to the Bacchae, from the sacred to the profane, la magia femminile è nello stesso tempo idealizzata, spiritualized and carnally passionalizzata. La donna, this time, she is largely identified with the seventh muse,it: lying limply on the harp, listen kidnapped the vibration of the strings; con sicurezza sfiora i tasti del pianoforte accompagnando il canto delle amiche; or give away the smell of the breath on the flute – e sembra di sentirne il modulare. But not only orfeoniste. The 'theme’ the prevailing view about the music. La musica sullo sfondo di Cagliari. So behind the harpist stand the roofs and towers of Stampace, il violonista siede sotto i portici della via Roma, and the city – corner after corner – diventa una luminosa sala per concerti sul cui podio non materialmente collocabile volteggia la bacchetta d’un direttore che trascina l’orchestra. «Non è un tema imposto neppure da me stesso», spy Pala: "Every time, part of an exhibition, start and I carry a speech ». Nel sedersi davanti al cavalletto avvia un discorso lasciandosi condurre: develops a thought, studia la molteplicità di un argomento e ne rivela le infinite suggestioni, spinto dalla necessità di dipingere quello che sente più di quello che vede. Says he prefers the human figure in the landscape; but it certainly expresses not just love to seize the lights
Cagliari, interpreting the views, in the 'tell’ fiori o frutta. Those contoured, quei colori contrapposti o sfumati, quel vigore di esperienza e di vissuto restano negli occhi e nel sentimento di chi li ha osservati.
Mauro Manunza

Art. Two reviews of painters in the twentieth century sardiMaestri

Sassu, Giuseppe Biasi, Filippo Figari, Bernardino Palazzi, Peter Collu, Cesare Goats, Mario Delitala, Valerio Pisano, Ausonio Tanda, Gavino Tilocca, Pietro Antonio Manca, Dino Fantini, Mauro Manca, Stanis Dessy, White Remo, Antonio Walls and many other masters of the twentieth century pictorial Sardinian, da Rosanna Rossi ad Angelo Liberati, da Antonio Corriga a Franco Bussu, da Antonio Atza ad Angelo Romby, da Leo Pes ad Antonio Pala: is what gives the Gallery 13, Via XXVIII February. An overview of the most rare and unique (anche occasione d’interesse didattico, considered the possibility of a direct comparison) visitabile ogni giorno dalle 10 all 13 and by 17 all 20,30, festivi compresi. Intanto una rara rassegna di opere grafiche di Felice Melis Marini e altri incisori è allestita nella galleria Incontri d’arte, viale Regina Margherita 91. Può essere visitata tutti i giorni (time 17-21) up to 18 ottobre.

Gioia e tenebre del sacro.

It must have been the spirit of the Jubilee to blow in the gallery devoted soul Peppino Floris the idea of ​​gathering the signs of sacred art. Eloquent signs and one of the most important Sardinian painting, with some vertex of sculptural representation. What can be seen from Saturday in two rooms of the "Gallery 13", in via XXVIII Febbraio a Cagliari, è un concentrato della forza arcana che l’esercizio artistico isolano rivela un po’ in tutte le epoche, through current, shapes and different suggestions but emotionally common. La rassegna è tutt’altro che completa (it takes more), ma sufficiente per comprendere quanto sia profonda la spiritualità nell’arte e quanto inafferrabile il concetto di sacralità: especially if moved from within to the outside through the optical filter. Che è comunque filtro di animo artistico. The expression of a Biasi is obviously not that of a Sassu, ma viste l’una accanto all’altra manifestano l’umana mistica che tutti accomuna: each work is linked to the exceptional, al meraviglioso, to godliness, ancestral fear of the event not covered nell'esistenziale. Ecstatic experience, exasperation almost pathological, emblematic need, intellectual exercise, ethical motivation. La definizione non può che essere approssimativa quando la sacra fames deve confrontarsi con la sua pretesa morfologia.

Thus the perception of the artist can show wonderful or horrible in the eyes of those who must implement, realizing itself in an ambiguity that defies reason. Beyond the reflections which the exhibition leads, non resta che richiamare a una pacata visita in galleria. Lining up here just names and intent. Vi sono opere finite e vi sono studi e bozzetti di opere altrimenti realizzate, many of which, however, notes, distributed among the churches of Sardinia. The series is undoubtedly the rarest date of ten portraits of popes: Sassu them realized, with ten other, a pastello intelato perché si trasformassero poi in quel grande mosaico che nobilita la chiesa cagliaritana del Carmine. I medaglioni con i volti dei pontefici sono del 1966, in size almost natural. Sketches (a olio) di opere importanti sono anche quelli di Antonio Mura (reviewing finite in size and shape to Bonaria, San Paolo, a Santa Rosalia in Cagliari, Seminary of Oristano and other places of worship). That of Giuseppe Biasi (a
small procession of Ephisius). And those of Salvatore Fara (Vincentians of Sassari, Madonna della Mercede ad Alghero), which impresses a Nativity '66. And Vittorio Calvi (Church of St. Ursula in Sassari) e di Antonio Corriga (Deposition of a shovel 40 meters in the St. John's parish in Fonni) e di Antonio Ruju (face of Christ, particular work kept in Lula). The finished paintings are by Filippo Figari (una splendida Deposizione, oil 1947), di Bernardino Palazzi (Study for St. John praying , held in Rome in
’61), Pietro Antonio Manca (three oils exceptionally attractive), of Bussu (Golgotha), at Masu (due grandi oli che rappresentano la salita al Calvario), di San Nicola (sacral Tribute to Raphael, spatola). E naturalmente alcune processioni di Corriga, next to a beautiful dramatic mournful procession of Valerio Pisano. Di Antonio Mura sono da osservare con attenzione tre xilografie, così da confrontarle con il Cristo deriso alla colonna che il maestro dell’incisione xilografica Mario Delitala realizzò nel 1928. Antonio Pala è presente con una Madonna delle Grazie, big oil that competes with its "double" as a skilled sculptor: un bassorilievo di gesso una maternità scolpita nel legno e un massiccio Cristo ligneo collocato per l’occasione all’ingresso della mostra. And
Gavino here Tilocca, that fits with three bas-reliefs: Adam and Eve bronze and silver, le Pie donne in ceramica, a Golgotha ​​bronzeo. It may be that something has escaped. Ma ce n’è abbastanza per un’indagine sulle ierofanie dei nostri artisti di ieri e di oggi. Manca soltanto un melodico canto d’organo che accompagni le nostre reazioni di profani dinanzi alla rappresentazione del sacro.
Mauro Manunza