Fire at the Stables

It is in this poetic perspective that the other constants of d’Accardi’s work are triggered. First of all, that constant that could be defined as ‘visionary’, with a vaguely expressionist affinity to Franz Marc, of his equestrian fantasies: Fire at the Stables, Il Palio, Horses in the Steppe […]. His wandering on the canvas with that restrained energy of the little trot in the glimmering of the glades, in the white silence of the snow-covered woods, in the fresh light of the sea, is the indication of nostalgia for the ancient, nobler ages of man […]. Moreover, on closer inspection, these knights, these amazons, inseparable from their steeds, seem to almost be the symbol or the key to our painter’s artistic temperament, and indeed to his language, which in themselves compose a luministic exuberance that is typically southern, classic confidence in the definition of form and nuanced lyricism, suffused vibrations of colour, secret preciousness of the material in a distinctly Lombard and romantic line.”

Luciano Budigna, D’Accardi: quaderno delle opere, 1966