Marca Fermana - Monte Vidon Corrado
Monte Vidon Corrado
MONTE VIDON CORRADO
Study Centre Osvaldo Licini
Piazza O. Licini, 9
Tel.: 0734.759348 - Fax: 0734.759350
THE HEADQUARTERS AND THE COLLECTIONS
“Signs and not dreams”, is how Licini had defined his art. The boards exhibited at Monte Vidon Corrado are about drawings, studies, sketches and notes that the artist made on a most varied set of supports, often used in a hap hazard way, during different times of the course of his work, but all characterized, not with standing the different themes, styles and structures, by the unmistakable incisive, figurative, floating mark of Licini.
Marchiori wrote that for Licini "drawing was the means, the expression and the investigative tool: the seismograph, so to speak, of immediate ideas". Licini drew a lot; the paintings were preceded by a long "gestational phase" which included numerous sketches and preparatory drawings.
The drawings on display span over a wide chronological period and offer us a significant overview of the artistic research of Licini. Well represented is the figurative period, that of the 1920s. A group of drawings is dedicated to the human figure: amongst these a bony, angular immature little girl’s body, sketched on a pre-printed advert, very similar to "The portrait of Nella" of 1926; again the same Nella seems to be recognisable in a bust of young girl lying down with her head in her arms.
Of the same period are the two still life: the reference to Morandi is inevitable, but by contrast. To the absoluteness, to the immobility Licini contrasts the sense of precariousness of things, the instability, the objects seem to levitate and escape the principle of gravity from one moment to another.
Also the sheet with the marina is dated around the middle of the third decade of the twentieth century: the trees with their bare and sinuous branches evoke Van Gogh, one of Licini’s most beloved artists.
There are also other hilly sceneries obviously of the Marche, which can all be traced back to the 1920s.
On a sample of a drawing-sheet, the artist also carried out a series of views of a village and its crooked perspectives, the narrow streets perched: even here, as in the still life, the sign takes us back to a mobile precarious reality, wherein despite being static, the buildings have oblique contours. On the other hand Licini himself affirmed that "painting is, contrary to what architecture is, an irrational art, with predominance of fantasy and imagination, that is of poetry."
The abstract turning point, which happened around the 1930s, is strongly present in these sheets: recurrent are the use of arcane, poetic geometry both in the form of straight lines and directrix that in more complex compositions, are inhabited by figures, letters created in pencil or ink. Many are Licini’s characters: the Amalassunte, who camp at the edge of a sheet or on an envelope with postal stamp, featuring sinuous and sensual hands or feet; disturbing, winking moons; the brave and heretic eroticism of rebel Angels, some more structured, others just evoked in the study of heads and then the flying Dutch and all the typical Licini iconography.
In some cards the artist mixes, in almost alchemical way, poetic text and images, into a continuous exchange between a highly evocative vision of the word, and the poignancy of the graphic sign, loaded with semantic talents. It is the Poem that expresses itself through the literary language and the visual one. The themes addressed are the eros, the pathos, the profound reflection on the meaning of existence, the human dimension balanced between the immense sky and black mud of the Earth, the irony, the desecration, the flight, the fall, the dream.
Leopardi, Novalis, Apollinaire, Mallarmé, Rimbaud, Campana are Licini’s favourite poets, the echoes of whom are perceived, in the writings by the artist.
These sheets can therefore be extremely interesting for the scholar, the art historian who wishes to investigate thoroughly Licini’s universe; the sketches particularly lend themselves to look in depth into the genesis of the works, to analyse the process of the creative act. The expressive effectiveness, the incisiveness and the enjoyment in terms of aesthetics of these drawings makes them appealing even for the normal visitor and for anyone wishing to get closer to the art of the great master.