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Domenico Gentile. At night
It is at night that it is nice to believe in the light. Edmond Rostand
Darsena n. 2, 1964, olio su tela, cm 40x50. Per gentile concessione di Nicoletta Gentile
11 December 2021
15:30 – 19:30
exhibition curated by Arianna Sartori
Descrizione

The Gentile provocation
It can be said that Domenico Gentile's entire existence is a work of subtle psychological diplomacy aimed at reconciling events. So it was when, in love with painting, he had to cultivate his passion in parallel with his medical studies or when, for work reasons, he left the sea and the sun of Salerno, his hometown, to land in Asola, which also entered his heart, as well as in his works. But Domenico worked the most profound pacification towards painting, managing to bring together in his works positions that at the time seemed irreconcilable.
Realism and abstraction were for Gentile specious, limiting labels, a sort of "wall of shame", a division between two camps that, paradoxically, fought under the same banner: that of art. Without bombastic proclamations or actions of force, Domenico simply ignored that wall, demonstrating how much reality there was in an abstract work and how much abstraction in a realistic one.
His accumulations of the most disparate objects, jars, torches, mushrooms, pumpkins, give the idea of ​​abstract and geometric compositions but are, in fact, assemblages of real objects. Conversely, in the works that Arianna Sartori has acutely selected for this exhibition: factories, docks, urban landscapes, there are reminiscences, nostalgia, quotes, which, as happens with Morandian still lifes, go far beyond the mere representation of the subject.
After all, on closer inspection, these works too are made up of the same compositional modules, of the same pieces of color that are found, remixed, in the so-called "abstract" paintings. If the docks are characterized by very narrow cuts that seem to want to exclude the presence of the sky and by portions of sails, the prows of boats crammed, almost forced, into the space of the canvas (and of memory), the factories and yards instead bring us back to a sironian, played down, almost softened by the use of color. Human representation is missing in all of Gentile's production, but not presence. Everything revolves around a social vision of a humanistic nature. The reiterated objects, similar yet different from each other, are nothing more than the representation of society, whose harmony is based on the enhancement of diversity. The relationship with the landscapes of memory is more intimate and poetic, which tell us about a world suspended between memory and dream, silhouetted against the black of a friendly night.
Carlo Micheli, 2021

Galleria Arianna Sartori
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Via Cappello, 17, 46100, Mantova, MN, Italy