Nicola Uneddu, the works
There is a dimension in which our inner world (with its fears and nostalgia) mysteriously coexist, and the "World" that lies beyond the appearance of things, a "Beyond" that dominates us, of which the optical data - immediate sensory is nothing but the envelope or, if we want, the outermost offshoot that veils and reveals at the same time.
For me, painting is an attempt to evoke with color an image that is as inadequate as possible of this Beyond, or at least of the shreds of it. So don't imitate nature, but cross it ...
The impossibility of exhaustively probing the reality of the artistic fact (in the sense of being able to circumscribe it in its most profound aspects: the genesis of color and shapes; the "place", if we can call it that, from which everything originates), is a given in fact, with which I face every day. I am convinced that the work of art is not only a psychic product (which in itself would be no small thing!), But to say it with Gombrich "there is something objective in the artistic fact that frees it from subjectivism, from mere expression of self and exhibitionism ".
I like to believe that the question is posed in these terms or perhaps I simply cannot, or do not want, accept that it is less than that.
It is within this horizon that the various problems of a formal technical nature, the choice of means and themes, choices that are probably free and obligatory at the same time, are placed.
So Art is that "Place", that "no man's land" in which it can happen (I say "it can happen", since it is not guaranteed at all, but perhaps it is only understood as a hope or a promise) , that the visible world and the invisible world, the purely spiritual (but no less real and concrete), come into contact; as in a borderland or a "threshold" in which the Being manifests itself.
Painting is therefore somehow equivalent to "traveling", but the journey makes sense if it presupposes a return ...
The hero's many scars
If the object of the artistic work is the Essential and so for me, then equally essential must be the elements, the constitutive data, the Form (in all the values that the term possesses), the "final resultant", that is the 'Opera. This is why the form is minimal, nothing more can be there, since what is superfluous is not only useless but harmful, because it hinders what by its nature cannot have frills or gaps. Art can be done and used for many purposes, all legitimate and justifiable I presume but "... I know ... my life does not have the innocence of childhood. world ... "(Christian de Cherge 'monk killed in Algeria 21/05/1996 with six other brothers). Therefore, using the title of one of my works, I prefer a "Elena ... dolorosa Elena", which still affirms the ontological necessity and presence of Beauty together, to the smooth paths of clichés and the deafening chatter of the "best of all possible worlds" that we "enlightened" and technological men have built.
Chessboard of the distance
Elena ... painful Elena
Of the place of motionless time
Long wait, quiet ... patient ..., but short, sharp the word.
The dart of knowledge moves in two directions, one towards the target perhaps, the other towards the archer, surely. In any case, the former always presupposes the latter.
The Opera needs only itself, not a lot of explanations, a good title is enough, and this too must not be an instruction booklet.
It is from the Mystery of Being that Art originates, the work should not be "explained" but looked at, as far as possible it is self-explanatory, being the fruit of the Mystery it suffers useless words, it only needs a look. Could it be that the Ninth or the Requiem can be told?
The way of Aeschylus
So close so far
Double gaze arrow
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The birthplace of Giovanni is not known but it appears that he was particularly active from the third to the sixth decade of the fourteenth century in Pisa. The first mention dates back to 1326 in the payment of the painting depicting San Ansano for the municipality of Siena, perhaps for the town hall with Lippo Memmi, of whom he is referred to as "disciepolo". His works in fact follow the language of Menni and Simone Martini very present in the Pisan area, to then follow, in a less detailed way, the work of Francesco Traini.
His artistic activity is to be included in the large number of artists who were present towards the end of the fourteenth century, in the territory of Pisa. The technique of punching the haloes, as well as the decoration of women's clothes and the pastille finishing of his works, which are to be considered very accurate, are attributable only to the territory of the city of Pisa, if not for a work that is indicated in Siena and there Madonna and Child preserved in the Regional Gallery of Sicily in Palermo which he sent to Sicily as was the fashion among artists between the fourteenth and fifteenth centuries.
Of his youthful production are conductive Madonna preserved at Williams College, the same subject which is part of the collection at the Ca 'd'Oro by Giorgio Franchetti and the one sold on 12 January 1978 at Christie's auction of a gothic character. The panel depicting the Madonna and Child among the Saints preserved in the National Museum of Pisa, it is an important point in the creation of the catalog of his works. 
Giovanni di Nicola's public life is known: in 1358 he was in fact appointed member of the council of the people of Pisa.  On July 28, 1363 his will is registered but the date of death is not known. In December 1365 he was indicated as dead in a deed of purchase of a fund from the painter Francesco di Neri. 
The collector Stefano De Montis talks about the series and his vast collection of works by island authors
Stefano De Montis, engineer with architectural studies, university professor, at the top of the regional Confindustrial structures, entrepreneur and collector of one of the largest collections of Sardinian art of the twentieth century, presents the initiative of La Nuova on this page.
Art in general and any cultural event concerning Sardinia are still today singular and so extraordinary that it seems to affect a limited number of people, who, almost in silence, and mainly locally, try to contribute to the enhancement of the precious heritage that distinguishes the millenary culture of the island. Only recently some relevant events by Vittorio Sgarbi, also on the initiative of Santino Carta, president of the Alferano-Ippolito Foundation, have allowed the organization of three important exhibitions that have brought my collection of Sardinian art to a large audience. in recent months on display at the Mart in Rovereto.
THE CONTRIBUTION OF THE SARDINIANS. The initiative of La Nuova to promote the art of Sardinia through ten monographs dedicated each to an important Sardinian artist is an event of significant interest to be supported with conviction, because it supports the impromptu and limited initiatives in progress and certainly contributes to the definitive consecration of the Sardinian artists who have made a significant contribution of universal significance to the avant-garde of the twentieth century. All this in a broad and absolute framework, not at all "provincial" while proudly preserving its own identity characters. A collector like me can only appreciate with curiosity and enthusiasm this important journey in art promoted by the Nuova, because it allows not only to enhance and spread the artistic heritage of Sardinia, but also because it concludes and consolidates the intentions and efforts made by individuals. collectors in decades of research and reorganization, giving certainty and concreteness to the objectives pursued and to the difficult path followed so far by each one.
THE BEGINNINGS. It should be remembered that my collection began in the late 1960s on the initiative of my wife and my wife, Anna Pia Coli De Montis. I, of classical and humanistic culture, but of scientific training that comes from engineering and architecture studies, oriented towards the great themes of the Renaissance, but also passionate about the movements of the '900 she equally of culture and humanistic training and lover of poetry and Italian literature, (of a Sardinian mother) was inspired by the Tuscan origins of the father. A woman inclined to classical art, in particular from the High Era, devoted herself more to the deep traces of the distant memory of Sardinia. Together we started the systematic and reasoned collection of works and objects that somehow represented the evolution of Sardinian culture towards "modernity", driven by the avant-gardes that also involved the island at the beginning of the last century. On the edge of experience costume designer of two Spanish painters, Eduardo Chicharro Agüera and Antonio Ortiz Echagüe, who arrived in Sardinia in the early 1900s, and around the activities of the great Sardinian artists, painters, potters, sculptors, artisans who were establishing themselves on the island of that time, we other interesting alternatives opened up to innovation, stimulating and directing not only painters but also intellectuals and craftsmen. Together, me and Anna Pia, we have grasped this explosion of passions that has allowed us to develop in an organic and cultured way all the artistic and artisan production sectors of Sardinia.
The lesson of the Spanish painters is understood by the young Sardinian artists. These include those to which the Nuova dedicates these interesting monographs: Ballero, Biasi, Ciusa, Figari, Floris and Delitala.
EVOLVING ROADS. The evolution of Sardinian art, told by the Nuova's books, continues along other paths with Dessy, up to the most up-to-date developments by Fancello and Manca and the innovative explorations in applied arts by Melkiorre Melis and Edina Altara. Paths that begin with these artists but which later establish themselves internationally with prominent personalities such as Costantino Nivola and Maria Lai.
THE SPANISH LESSON. All these artists interpret in some way the lesson of Costumbres but they adapt it to the Sardinian reality in a favorable moment because the island was struggling to detach itself from its deep archaic cultures, with the awareness that it was consolidated more and more in those educated, bourgeois, informed and updated artists, that Sardinia should open up as much as possible possible to innovations, but with the intention of preserving and enhancing as much as possible the multiple identities of the island. In short, innovation towards modernity, in the name of Sardinia's identity. This is the scenario to which the "De Montis Collection" refers, which preserves several works by the artists proposed in the monographs of New Sardinia, whose set of contents grows over time, in a reasoned way, ranging in all the different sectors of art and Sardinian artistic craftsmanship, developing and documenting in particular the entire first half of the fifties of the last century, also extending to other sides, but with reasoned prudence and discretion until the end of the twentieth century. Very important and decisive for this experience was my fortunate and casual meeting in Nuoro, in the early Eighties, with two enterprising and brilliant young people, Sebastiano Congiu and Vanna Fois, who then began their common path, which will lead them to found the Ilisso publishing house, which will contribute like no one to the spread of Sardinian art and culture. The meeting will be decisive and decisive for everyone, because a happy partnership will be established between us that will lead to continuous cultural exchanges. In this way, the “De Montis Collection” is consolidated and refined, and Ilisso begins his happy journey, quickly achieving high level results. "Collecting" thus assumes for me and Anna Pia the contours of a universal need within a unique concept: the truly great unique beauty of Sardinia! And this to the point of thinking and daring to be able to collect everything possible: painting, ceramics, sculpture, costumes, jewels, furnishings, baskets, fabrics, furniture, masks, horns. These instances, all evident and represented in the Collection, intertwine and find the synthesis in our two complementary and different souls, which while initially pursuing autonomous and different paths, pour their experiences into a common outline-canvas that evolves and gives substance to the contents. final general of the "collection".
AWAKENING CULTURE. In summary, the Sardinian twentieth century as a research between innovation and love for the roots and identity of Sardinia, between exoticism, magic and anthropological tale, between tradition and modernity! I hope that this initiative of the Nuova will be useful to awaken Sassari (a city that has been sleepy for too long) and the whole island, and that it will become a strong signal for the recovery of the exhibition spaces that have been closed for some time, such as the Craft pavilion designed by Ubaldo Badas , the archivolt of the Carmine for some time destined to house the Biasi collection, the Masedu, all unused spaces and long lost for the culture of Sardinia.
The statue of Pomodoro
I am obliged to enter into the merits of my proposal (together with Councilor Uneddu) to sell the statue of the Pomodoro.
Assuming that I am not an art critic ("and it shows" someone will say), but a simple politician, here I would like to try to represent the reasons that led me to propose an agenda (in September 2009) and now a budget amendment to urge the council to dispose of the statue. I would like to point out to the ill-informed that the budget on which the amendment was proposed is a programming tool for the Entity's activities and is, by its nature, preventive. This means that the amendment proposal is not to be considered an appraisal, but a presumed value of what the Entity could collect in the sale of the asset. So do not worry the Councilor Perale who has objected that now the council will go to sell off the statue: the presumed price (Ђ 270,000) indicated in the financial statements could very well be exceeded if. there should be many requests. The Councilor Perale will remember that already in the Agenda I wrote that the council should have taken action for the alienation of the statue with every tool, even with a possible online auction. Now the administrative structure of the Municipality will be able to identify the method that can bring the best income to the Municipal Authority.
Does the artist buy back his work?
Why, then, was the value of Ђ 270,000 proposed? Simply because, following the repeatedly mentioned O.d.G., the Author proposed to buy back the statue at the same selling price (net of VAT). So now the City expects the Author to do what he said. Obviously, in the light of the laws on administrative transparency, the bureaucratic apparatus will take care to adequately advertise the methods of sale of the statue (date, method, initial price, etc.), so that there may be a real competition with the hope, on my part, of being able to see the proceeds rise. In summary: the author is willing to buy back the statue for Ђ 270,000, but it is not excluded that the price may rise. On the other hand, the Councilor Perale guarantees the value of the Artist (and I have no reason to doubt it), so I can assume that there will be no difficulty in selling the statue for well beyond the expected Ђ 270,000. If this happens, I City Councilor of majority, I can only be super happy: we could use the surplus in works that, rest assured, will certainly be useful to the city. As for the deal recalled by the Councilor Perale (selling a statue at 270,000 after paying Ђ 260,000), the valuation will be given when it is sold (evidently, the higher the sale price, the higher the deal, the more low will be the same, the doubt could arise that perhaps it was the excessive purchase cost).
The most necessary expenses
So, today not having the certainty of being able to collect a lot, the political aspect remains: does it make sense that the city pays a mortgage (including annual interest of about Ђ 10,000) for this statue? I think not: I think that, if I have to take out a mortgage, I would do it for other works (for example: the basketball court at the Maraga park, also proposed by me and voted favorably by the City Council, the cost of which is approximately Ђ 15,000). I also remember that, by reselling the statue, I do not run out of money (as stated by the Councilor Perale): the money, in reality, is NOT ours because it was loaned to us by the Cassa Depositi e Prestiti. It is said: repayment of a debt, I do not think this is scandalous. In conclusion, a note for the Artist: do not feel judged (much less by me.), It is only a question of the use of public resources.
Francesco La Grua
President of Commission I of the Municipality of Belluno
Belluno, March 25, 2010
Arnaldo Pomodoro Sculptor
He is considered the greatest Italian contemporary sculptor, well known and appreciated also abroad. His works adorn cities like Rome Milan Turin Dublin Los Angeles Copenhagen
The statue of Pomodoro in Belluno
The purchase of the statue had not been anticipated by a financial and cultural project that envisaged a natural extension of the cultural offer for the city with other works and artists.
Despite the 2009 exhibition on Brustolon in Belluno city, the name of Pomodoro is perhaps better known, but perhaps we do not know how to decline even the ABC of both.
Piazza dei Martiri in Belluno
A resplendent square that risks anonymity, unable as it is to offer hospitality not only to children who are forbidden due to the flower issue, but also to cultural events if not transforming itself into a set of horrible shacks and shanties.
The Civic Museum of Belluno
He waited for a relaunch project
Nicola Samorì was born in 1977 in Forlì and graduated from the Academy of Fine Arts in Bologna. His works, paintings, sculptures and engravings, have received prestigious awards, such as the Morandi Prize (2002) and Michetti (2006),  were exhibited at the Venice Biennale in 2011  and 2015.  
In 2010, on the occasion of the centenary of the birth of Mother Teresa of Calcutta, the Marilena Ferrari FMR-ART'È Foundation was chosen to create the works of the volume Imago Christi, issued in 750 copies, focusing on the Sermon on the Mount taken from the Gospel according to Matthew, and a copy was donated to Pope Benedict XVI. 
Some works of the artist are included in the Taylor Art Collection of Denver, Colorado. 
Starting from the meticulous copy of the works of great masters, especially of the sixteenth and seventeenth centuries,  where the clash between light and shadow dominates, Samorì transforms and reinterprets them with the troubled spirit of our century. With violent interventions he pierces, scratches, literally peels the painting through a sudden or meticulous gesture, giving life to new works that have their roots in the tradition of the history of art and then arrive at the expression of torment with a contemporary language.  From painting on wood or canvas, to frescoes, the Romagna artist also paints on surfaces such as copper and semi-precious stones, integrating their material peculiarities into his works. 
While painting tends towards sculpture, acquiring a three-dimensionality given by the violent and refined decay carried out by the artist, at the same time the sculpture seems to liquefy or dig itself from the inside, almost seeking the dematerialization of matter and form itself. 
From dissolution to rebirth, through the continuous search that from the tragicity of death yearns for life, reached here in art, paradoxically, with the partial destruction of what was previously created. 
"Art is a hole in time, something that anesthetizes the race."
On Friday the presentation and inauguration of the exhibition
One of the works of the exhibition "Via Crucis" by Nicola Filia, at the Museo Diocesano Arborense
A new exhibition arrives at the Museo Diocesano Arborense in Oristano. This is the "Via Crucis" by the artist Nicola Filia, an exhibition that offers the Sardinian community a moment of spiritual reflection and prayer.
The exhibition will be open to the public from Friday 12 March, from 5 to 8 pm, and will be open until 9 May. On Friday morning it will be officially presented during a press conference attended by Monsignor Roberto Carboni, Metropolitan Archbishop of Oristano, Silvia Oppo, director of the museum and curator of the exhibition together with Antonello Carbon, and the artist Nicola Filia.
Through the sculptures of Filia - about 50 works of plaster, ceramic and wood - the visitor will symbolically retrace the last moments that led Christ to the cross. Each station of the Via Crucis is accompanied by the meditations of women who work in the social, medical, religious and cultural sectors.
Until new ministerial provisions, the Arboresense Diocesan Museum will be open on Tuesdays from 10 to 13, Wednesdays and Thursdays from 17 to 20 and on Fridays from 10 to 13 and from 17 to 20.
Francesco De Nicola was born on 24 October 1882 in Musellaro, to Luigi De Nicola, a municipal secretary, and Pasqualina Zoppa.
Very young, he moved from Musellaro to Naples to begin his studies at the Academy of Fine Arts in Naples and here he specialized in figure painting, dealing almost exclusively with the female image. He studied with Michele Cammarano, so much so that he became his favorite pupil, then with Vincenzo Volpe and Paolo Vetri.
In these years he met Angelo Brando, another artist of the Neapolitan school. They first became colleagues, then great friends and finally brothers-in-law, having married two sisters Eugenia and Maria Tauro.
In Naples he met his wife Maria Tauro, whom he married on 28 October 1914 and with whom he had four children: Angelo, Giuseppe, Luigi and Aurelia. Among these Luigi inherited his artistic streak, graduating in architecture and then becoming a painter and draftsman.
De Nicola lived with his family in an attic in the historic center of Naples which still exists today in via San Liborio 23. In that house he composed most of his works. From the balconies of his attic he photographs the view of the Gulf with painting. From the windows of his house he would free-hand shoot the pigeons that created their nests right on the adjacent roofs of historic Naples. His famous "doves" are reproduced live in many combinations and in the most varied poses. In this case the use of pastels with soft and delicate colors prevail, making the vision of his drawings relaxing. In the late 19th century her home became a meeting point for models and artists of the Neapolitan school of the early 20th century for the rest of her life.
De Nicola's female nudes remain today the major and particularly valuable works.
De Nicola becomes an expressive and sensitive figurist and preferably treats the nude outdoors. He is also a good colorist, correct and confident draftsman. From the wide demand for his works coming from the noble Neapolitan families and beyond, to the invitations to participate in the great exhibitions organized by cultural institutions. The many victories in painting, sculpture and drawing competitions. The acknowledgments of colleagues, art experts and owners of galleries.
His frescoes can still be admired in the Church of San Pietro ad Aram in Naples and in the Co-Cathedral of Maria Santissima Assunta in Castellammare di Stabia (NA).
He died in Naples on January 29, 1961. The remains are buried next to those of his beloved wife, in the Poggioreale Cemetery, in the Chapel of Artists and Illustrious Men.
While in the expressive portraits one can see decorative subtleties that recall the atmospheres of the Roman environment of the beginning of the century, in the numerous nudes taken outdoors, more frequently in essential interiors, his art is entirely entrusted to the precious design and refined color of the bodies fascinating, caressed by the light. His nudes in oil, tempera and pastel are striking for their subtlety and lightness of expression.
He has participated in various exhibitions including those of the Promoter "Salvator Rosa" of Naples, where in 1911 he exhibited the canvas Nostalgia. Other jobs: Light room Against the hour, the latter was awarded with the small minting gold medal of the Royal Institute of Encouragement of Naples and purchased by Vittorio Emanuele III. Then again Daisy, exhibited in Rome in 1908 Memories, he sent three works to the Turin Quadriennale even in 1908 at the 1909 Rimini Exhibition. At the Florentine Spring of 1922 he exhibited The plug (oil) Lucia and Ida (drawing).
Its frescoes can be admired in the Basilica of San Pietro ad Aram in Naples.