Mia madre

“At this point someone might object that the artist, in his expression of colour, has an exuberant chromatic lyricism, a certain tonal exasperation. But we know from direct contacts that the public understands and accepts his open singing of yellows and greens, modulated in fertile waves. On the other hand, there is also a way to ascertain that the artist also has his own inhibiting brake that calls him back to constructive reality, such as in the Crucifixion, in Figure with the Flower, in the portrait of his Mother and in those Still Lifes of exquisite craftsmanship, whose vibration is all contained within the chastity of the stroke and the tones.”

O. R. Bajocchi, La Provincia di Como, 1944