Por: Campo Fiorito
… GOOD TO SEE …
Quirino Campofiorito – May 1966
Professor of the University of Brazil of Fine Arts, art critic of the newspaper “O Jornal” in Rio de Janeiro. Member of the “jury” of numerous art exhibitions.
It is good to see the work of an artist who is really committed to art. The work of a painter conformed with the painting: Pietrina Checcacci.
So that’s when he was just a student, and that’s important. And this is not far. Already he had a personality in front of the school trestles. Yesterday, Pietrina was in front of them. There was no solution of continuity in the transition to freedom of creation. Your strong instinct that promises to go now. He is the artist who knows of his great commitment to painting, because he knew how to be a student who always saw the duty of art, whose secrets he quickly conquered.
It is not said that Pietrina, the youngest generation of painters, now discovers the “New Figuration” to say something pleasing to fashionmakers and collectors of original classifications. No. Pietrina has never left the path she knows. She is a young woman who has always felt the irresistible attraction of figurative representations – the representations of the human figure. Never the same for paths that did not bring her to the presence of man, even through their spiritual symbols.
For this reason, for Pietrina, there is no “New Figuration”, but the figuration of her time, the configuration of herself in her day. What she can express as the total resources of her art,] integrating emotionally with a new generation, pushed to define the position, by instinct of survival, in the drama of social reality. He already had, in his short art life , an opportunity to affirm attitudes in the field of inventiveness of the new framework of subjects. We do not know if this continues. These were the works that Pietrina exhibited in 1965. (National Exhibition of Modern Art). Now she gives us the record of her artistic emotionality through compositions that will remain in a certain technical tradition with material resources. Tradition that departs, and fortunately, from the sources that generated the abominable academism – inexpressive and anti-creator. There is primitivism in Pietrina’s painting, and this is healthy. There is an intellectual in the structure of a sensible feeling that is not hidden, and this is formidable. Technique regains total purity.
Color is a serious problem. Red and brown in this serious problem. The pictorial expression spreads in large measure. Human content is not superficial, nor is it the appearance of literature, because it engages in its contestation of the objectivity of the feelings that work from the imagination to the concretization of the object-art. Some will say that there is an Italian remembrance of the beginning of the Renaissance. Does not matter. This can be justified in the intimate forces of the artist. What is relevant in the painting of Pietrina Checcacci is the actuality. It is the contemporaneity of the wishes of his painter. His inspiration emerges in itself as it should be and as a freedom of youth that has committed itself to its generation. A new generation has credit.
