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PIERO TARTAGLIA - Italy

CONTACT: megaartassociation@gmail.com

Cosmo

Abstract composition

Mixed media on canvas 100 x 100 cm

Collage and oil on canvas cm 100 x 120

Geo-metrica

The Beach

Mixed media /canvas 120 x 120 cm

Oil on canvas 100 x 100 cm

The Critique

ARCHITECTURAL GESTURE
The early Tartaglia is rooted in naturalistic data, in factual reality and objective truth, portraying its glories, kingdoms and ruins. The rigor of the drawing matches the mastery of technique, with respect for chiaroscuro, depth and perspective. The lesson of the classics, the sacredness of tradition, observance of academic canons make him a forerunner of figurative art, in a modern key. The master embraces a global vision of the cosmos, erecting imposing monuments, centuries-old olive trees and dreaming sunflowers, in old Rome. Delicate in tonal rendering and in the finishing of the mark, he transfers his passion for art onto the white canvas, aided by the study of the great masters and by the experience of his multifaceted personality. Over the years, in deepening painting and probing matter, Piero Tartaglia begins to sense its creaking, crackling and agony. Scratching the bark of the surface, however, he discovers its vegetal sap, vital energy and spiritual current. As the truth inherent in things appears, deceptive semblance, fleeting vanity and wretched fallacy vanish from his eyes. The fury of the elements is unleashed; the flood sweeps everything away; desertification advances inexorably and it is total crisis. The barriers collapse between visible and invisible, appearance and essence, finite and infinite. Having reached the point of impossibility, the edge of fracture, the advent of the absurd, Piero Tartaglia renounces the material project to create another reality, parallel to ours and just as true. Horizontal visual sensation gives way to vertical; shadow to light; the figurative to the abstract, the informal, the spiritual, in the ebb and flow of his restless conscience. A natural, spontaneous, inner architecture replaces ancient ruins, unstable nature and three-dimensional reality. Thus are born cut-outs of raw materials, pursued, encircled and lit by sidereal arches, exulting in the delirious dance of the hours and the frantic rhythm of space, through colors in motion. Dream visions, dynamic scores, transparent veils, of exceptional lyrical tension and powerful psychic thickness, dissolve into the chromatic kaleidoscope, of fascinating suggestions and visionary elaborations. Volumes and forms, colors and materials, images and light are creations of his brilliant talent and imprints of his sensitive soul. In modern times, the poor dress up as rich; the sick masquerade as healthy and the ugly make up as beautiful. Earthly three-dimensionality is unacceptable; the established system is unbearable; universal logic, common sense, fraternal equality, the same law for all are a farce. In the traps of visions, in the occupation signal and in the architectural disintegration of Piero Tartaglia there is the absolute freedom of pure art, in sublime, sui generis poetic fantasies.
Gianni Latronico

The Verlust der Mirre, the Loss of the symbolic Center represented by the two Towers of the Worid Trade Center in New York, the putting into crisis of that form of self-representation and self-apperception of the Western world of which they were a mirror and an icon, triggers, yes, the quête, the search for Centers, the centripetal movement that leads Piero back to Venice and, somehow closing the circumference of a perfect circle, draws, apparently, the figure of the Ouróboros, mythical symbol of the Eternal Return, of cyclical Repetition and of the <bad infinity>: but precisely the acute awareness, and the penetrating intuition, of the epochal scope of that event, which Jean Baudrillard defined the "Pure Event",14 prevent the Artist from remaining prisoner of a Sehnsucht nach der Mitte, of a nostalgia that ends up tightening into a "closed myth", that is, a negative myth, to use the incisive terminology of Paul Tillich15.

Allow me now, finally, to address to Piero Tartaglia, as a wish and a tribute, the admirable "Orphic" verses of Rainer Marie RUke, in the beautiful translation by Mario Arazzi Mancini: « Desire change. Be thrilled by the flame where / something that displays metamorphosis withdraws from you; / the planning spirit
that governs the earth, in the surge / of form loves nothing more than the turning point [den wendenden Punkt}. //What closes itself in staying is already stiffened ».
16 November 2002

Prof. Enzo d'Elea Garzione

LYRICAL DISINTEGRATIONISM
From the happening of the riddled carcass, struck with spatula blows, in Piazza San Marco, in opposition to the Venice Biennale, Piero Tartaglia has entered myth and there are no legends that can scratch his moral stature and artistic greatness.
The lyrical disintegrationism of his works has risen to a symbol of protest against fair play, the establishment, hypocritical do-goodism, to go against the current, break down barriers and create new architectural structures, all vertical or circular. With each of his pickaxe blows at the worn-out system a mask falls, raising a monument to the excluded, the defeated, the dispossessed, the poor in spirit, who have nothing to lose or gain, in the corroded gearing of modern times.
Faced with the tragedy of September 11, which shook the whole world, the Master rose up against mental blindness, rebuilding the twin towers with pylons of light, columns of fire, pillars of human warmth and divine indignation.
His prismatic diamonds, his crystalline cascades, his spinning caryatids, his chromatic kaleidoscopes are cathedrals in the desert, reeds in the wind, bottles cast into the ocean, to persuade humanity to change course, in the name of art.
The traditional distinction of the fine arts falls before the sacredness of his hieratic gesture, the musicality of his rhythmic space, the plasticity of his natural perspective, the movement of his ringing colors, in the unity of total art.
For everyone else today, what matters is only money, power, success; while the poetic, sculptural, architectural painting of Piero Tartaglia is the mere investigation of the real, the concrete, the material, in search of the arcane, in discovery of mystery, in revelation of the magic of signs, forms, volumes.
All the colors of the rainbow flow together to create an ethereal world of sweet illusions, to impose on the viewer, expanding grassy clearings within the painting, to let him enter and make him partake of an ideal atmosphere and a dreamlike composition.
All the seasons of the year contribute to the explosion of the joy of living; all the reflections of the universe help transform life into dream; the connective tissue of each of his canvases is suffused with poetry and the finite gives the sense of the infinite.
Having upset the natural order of things, changed the academic course of painting, reached the spiritual in art, Piero Tartaglia manages to stop the flood with the energy of the sunflowers and to halt time with the immortality of images.
Having plucked the sunflowers into abstract postures and scattered the achenes in informal movements, he replaces the old alphabet with runic signs, highlighting chromatic magic, charismatic Tantra, graceful grace and divine light.
Gianni Latronico

The CV

The void, the nihilism, the alienation of these vile modern times are filled by his expressive force, by his youthful drive, by his artistic inspiration, which fuses it all in the crucible of his beautiful soul, per aspera ad astra, in oil, enamel, metal, on canvas.

SOME AWARDS FOR ARTISTIC RESEARCH FROM 1952 to 2000
Dean of the Academy of Fine Arts - Rome;
Gold Medal as Academician of the "Italy" Academy of Arts, Letters and Sciences;
1st Prize of the Italian Center for Social Development of Siderno "Tribute to Corrado Alvaro" - International Painting Competition;
Diploma of Honor of the International Order and Volunteers for Peace;
Diploma of Merit as 1st Artist in Art Research - 2nd Trophy City of Como (jury chaired by Carlo Ripa di Meana);
Academician Diploma of the Tiberina Academy, Institute of University Culture and Higher Studies;
"Christopher Columbus" Award, La Spezia Art Biennial;
Gold Medal "European Cultural Community";
Gold Medal at the World Art Olympics in Athens;
Oscar of Italy;
Golden Lion, Abbiategrasso Biennial (Milan);
1st Art Prize, Center Music Europa-Rome;
Triennial Art Award "Giulio Bolaffi";
"ad Honorem" Exhibition, City of Zurich (CH);
World Selection Award, Basel (CH);
Architecture Award "How to Save Venice" - Verena Trophy-Basel (CH);
Gold Medal "Marcus Aurelius" - Municipality of Rome;
1st Prize, "Cinemoda" Trophy, Rome.

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