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NUOVO CORRIERE SENESE
Siena 1976
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The Gallery is exhibiting a painter who is immediately understandable. The human figure has kept its place in the world of art even when the wind of change has blown hard to sweep away every vestige of tradition. The human figure has stood fast, gripped hard, shall we say, to man's need to identify himself with something fixed, lasting. But also because communication presupposes the use of a type of language which is neither archaic nor conventional. Rather, it needs the elements of form and syntax which evince ideas and make them understandable. This is particularly true of the human figure in a portrait. Here, subjective interpretation, and therefore representation, can reach at most the limit beyond which there is abstraction, thus always remaining tied to the need of identifying the model.

In the paintings that Nino Gorni exhibits at Palazzo Patrizi, Accademia degli Intronati, tradition is not upheld by a mere exercise in composition or by the canons of rational proportion aiming at empty aesthetics. On the contrary, it is a view of the everyday portrayed at a level of understanding which can be immediately grasped even by the uninitiated. However, Nino Gorni, always tries to go beyond that which is apparent to the eye, even when painting portraits, that most limiting of genres of the artist's ability. Nino underscores the furrows of time on the faces of the aged, even to the point of bringing his subject to surrealism, and thus achieving his own very personal type of portrait. His objective is to communicate by means of objective perception without, however, surrendering the prerogative of creative freedom. For this alone translates the human figure from factual recording to the broader sphere of poetry.

 
1999 Alessandro Gorni