Paolo Lantieri

  Paolo Lantieriís
Women and Musicians.

Paolo Lantieriís painting may easily lead the hurried observer towards two unjustified errors: the first one to be an easy painter, the second one to be the feminine erotism-teller. And one should be wary of it, retacking instead his paletteís jagged portolano. And for a start we should say that only a few artists have such a deep Italian sensing of heavens and colours: from his native Messina, with all the madness of the Sicilianís brightness ascending up to his  Middle-European studiesí meditations and up to the final mid-choice of Florence, warehouse of too many centuries of (shape) painting that could not refuse to take along such a certain and inborn talent. Now, from Sicily (yes, also from the Guttuso one) this architect grown painter took the magic mix amongst clashes of triumphant colours and geometric sharpness of doughy forms. Lantieri seems to have drawn from Milan that amusing melange of stroke depth which become amusing scenography of high European poster-art. And from Florence he seems to have eventually drawn the soon dissolved shape constructionís  solemn sense, with fairy tale cheerfulness, in the hundreds of everyday postures  of an almost Moravia-like narrative. Lantieri paints only women and musicians, almost. The latter have the windy and multicoloured grace of ultramodern Harlequins. The first ones instead require more penetrating remarks. Any of these womenís postures are an open allusion towards the generous and overflowing graces of a discovered sensuality at the same time immediately corrected by an irony and by an everyday-metropolitanity that dilutes its charge towards not obvious manikin anxieties. His women, in short, are not as cynic as Boteroís oversized ones but they are rather tending to transform the fleshís generous triumph  in a fragile magic of cumbersome innocencies. The more than courageous postures  of Lanteriís women are the feminineís extreme defence that the artist clears from the present attitude to consider women as a simple source of profit. The sharpness of the stroke, the dancing blares of contrasting colours, his undoubtfully signs (hands, eyes, neck-holes), the contestís fast flea market stuff (now marine and again urban), and the insisting construction of couples of  figures build up a womanlike theatre, bright and playful too, setting free no ambiguous astonishment of generous and innocent nymphs of the Year Two Thousand.   The visitor of Lanteriís most beautiful drawings and sketches will not find that ironic dynamic of his paintings (almost a prevailing fashionsí retaliation of feminine skinniness), but a strokeís restless and rich elegance, a strokeís irrefutable plenitude showing the nourishment of a great and assimilated tradition. Rather, for Lantieri. sensuality is the anxious metaphor of nowadays feminine condition that does not renounce the call of a full beauty, without ever downgrading it to  mannequin allurement.


Pierfrancesco Listri




Biography Works Graphics Home