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Piero Piolini

Piolini Piero

Piero Piolini Piero Piolini cultural background has been formed by a complicated panorama in which the technical learning of his young age is tied with a good learning of the “painter job”, obtained with a precise evaluation of the art knowledge and a primary activity in his studio, achieved also, in their difficult complexity, attending a regular course at Accademia di Brera (N.d.T Brera Accademy in Milan).
Deeply motivated, because he was aware of his natural abilities, well known also to his teachers, Piero Piolini successfully achieved his own maturity, the complete expression of formality and the total ability to use colours and light. He moved in Milan and was born in Ossola (his parents were from both banks of the river Toce, between Anzola and Premosello), Piolini moved in Milan when he was ten years old. His first teacher in drawing was Alberani, who addressed him in the specific study of colour, because he noticed in his pupil a good ability for drawing, that should not be undervalued.
After the diploma, he has been employed in a tissue firm like a tissue-designer. Young employees should continue their art studies, in order to become more capable and competitive. For this reason Piolini attended the forth and fifth course at the Evening Courses in Brera. War time has been for the artist a real challenge, with many difficulties. He was called in the army in 1943, Piero Piolini came back from the American prisoner camp only at the end of 1945. It was really in the years that he met the painter Silvestri, who has been able to initiate him in the very difficult art of portrait. When he learned a very good technique, the artist did a plenty of portraits of American officials and soldiers, first in Milan then in Florence. When he came back in Milan and he got a degree in graphic and publicity design, for the professional and creative ability, Piolini has been employed as an industry poster designer. He soon had the opportunity to open his own studio, specializing in packaging, marks and labels (for bottles of wine, spirits and vermouth), with always increasing qualitative and quantitative demanding both in Italy and abroad. His jobs of designer and poster designer didn’t allow him to practise painting, which Piolini continued by himself and at the end he attended a course in the Academy of Brera, in order to complete the painting studies he was interested in, since he was a young man. His teaches in Brera were very important painters like Cantore and Dino Lanaro: with whom Piolini begun a deep friendship, becoming a faithful pupil, who always paid attention to his very important advice.
He got his diploma writing a thesis about the painter Emilio Gola, after four years of study with very good results. The historic experience of Mr. Gola and the teaching of Dino Lanaro had left a lasting track in the art growing of the still young maestro. His painting seems to refer exactly to the world and research of Emilio Gola. The characteristics of Piolini’s painting are the vaste and colourful strokes, in which the freshness and brightness of landscapes are obtained with a precise and delicate coloured sensibility. The formal concept (from a precise perception of light and space) is present both in the structure of painting and in the strong feelings, which are expressed and remembered by colours: it is direct, pure or transparent in the way of impressionists; and it follows the guide lines of Lombard naturalism, which is deeply re-lived and re-defined.
It’s clear that Nature and nature expressions (landscape like expression of human changings in the natural given, or in the very given) are an immediate term of comparison for Piolini, who became a curious and active interpreter of landscape or the changing of seasons with the habit of “plein air”, which is very often used in Ossola (Anzola is the perfect place for his “buen retiro”) and he reproduces immediately the tonal splendours, or the pastel whispers, which are made silent by light variations in infinite shades of colours. Seasons are the echo of Piolini’s vaste tonal experience:
his winters, with the snow laying softly and widely in the physical place of memory or dividing the landscape in soft shades of colour according to the different sun light (snow with the transparent whiteness of its crystal being reflects the tiny colours of atmosphere), are vivid poetry pages: spring, maybe characterized by the brightness of colours in the main scene, in the flowering fields or along the river Toce, becomes colour and emotion; spots of poppies in a coming hot summer, with strokes of bright red that become brighter, and seem to become one and softer in the general vibration of the composition, rich in dark and shadowed high trees, reaching a sky, which is moved by expert strokes. The turning of changing tonalities in autumn along the river Toce, with the small cut, almost detailed like a video scene, which sometimes we find, diagonally, in the lake landscapes (Lesa) or widely in the frontal prospective for the remembering in Brianza (landscape from Montevecchia), are witnesses of the agreement to the landscape soul, to his simplest and deepest essence. Than, the lake and the snow, Vigezzo Valley and Anzasca Valley with snow and blue skies, coming from a very ancient tradition; Gulo di Fomarco in infinite inspiration solutions, and the running horses in cold landscapes, where the sky meets the ground. Gesturing, in its being with wide and precise strokes, always like a sign and material, it the jewel of Piolini’s painting, like the graphic sign that transform the crayon drawing into intense and essential moments of a lived philosophy, in which it is impossible to find an end. They translate slightly touched moments, which can be obtained only with an experienced and precise technique. Insides of inns, works, days and conversations, people and slow hour passing, obtained by a light almost caged into formal boundaries. In the same way of death natures with flowers, whose vibrant life is next to the highest and purest expression of feelings, where the shape is obtained owing to colours, whose poetry is beyond simple senses, and it comes to join feelings and senses, between light and gesture, between light and shades of colours, in simple description of volumes and space.


Home: Via Airolo, 23 - Milan
Studio: Via Romolo Bitti, 10 - Milan
Home and Studio: Via Borghini, 2 - Anzola d'Ossola (VB)


Galleria Dolfin, Milano, 1976 - Galleria d’Arte di Piazza Marconi, Abbiategrasso (MI), 1977 - Galleria Dolfin, Milano, 1977 - Pro Loco, Livraga (LO), 1977 - Torre Pusterla, Casalpusterlengo (LO), 1978 - Kunst Galerie, Milano, 1978 - Kunst Galerie, Milano, 1979, Kunst Galerie, Milano, 1980 - Galleria Garrone, Milano, 1981 - Galleria Velasquez, Milano, 1982 - Circolo Volta, Milano, 1983 - Galleria Di Lauro, Milano, 1983 - Galleria d’Arte Canfora, Milano, 1984 - Galleria 83, Milano, 1984 - Circolo Volta, Milano, 1984 -Galleria Di Lauro, Milano, 1984 - Galleria Velasquez, Milano, 1984 - Galleria Di Lauro, Milano, 1985 - Pro Loco, Premosello (VB), 1985 - Ars Italica, Milano, 1986 - Circolo Volta, Milano, 1986 - Sala della Resistenza, Verbania, 1986 - Galleria del Sagrato ETP, Milano, 1986 - Circolo Volta, Milano, 1987 - Museo della Scienza e della Tecnica, Milano, 1987 - Pro Loco, Premosello (VB), 1987 - Circolo Volta, Milano, 1988 - Sala Consigliare, Premosello (VB), 1990 - Circolo Volta, Milano, 1991 - Circolo della Cultura, Anzola d’Ossola (VB), 1992 - Sala Operaia, Ornavasso (VB), 1993 - Circolo Volta, Milano, 1993, Pro Loco, Belgirate (VB), 1994 - Teatro Terme, Bognanco (VB), 1994 - Sala Espositiva “Maneggio”, Mosca, 1995 - Circolo Volta, Milano, 1995 - Sala Consigliare, Premosello (VB), 1996 - Sacro Monte Calvario, Domodossola (VB), 1996 - Sacro Monte Calvario, Domodossola (VB), 1997 - Sala Operaia, Ornavasso (VB), 1998 - Galleria d’Arte Il Torchio di Porta Romana, Milano, 1999 - Parrocchiale, Santa Maria Maggiore (VB), 1999, Parrocchiale, Santa Maria Maggiore (VB), 2000 - Sala Consigliare, Premosello (VB), 2000 - Parrocchiale, Santa Maria Maggiore (VB), 2001 - Parrocchiale, Santa Maria Maggiore (VB), 2002.v


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