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Comune di Cella Monte

Comune di Cella Monte
Le opere di Gianni Colonna sulle case e chiesette/Paintings by Gianni Colonna on houses and churches


Un museo a cielo aperto con le opere del pittore Gianni Colonna esposte in modo permanente sulle case e sulle chiesette tra Cella Monte e la sua Frazione Coppi.

Gianni Colonna è nato a Torino nel 1938 dove ha sempre vissuto e lavorato fino al 2002 quando decise di stabilirsi in Monferrato. Allievo di Felice Casorati ha sempre prediletto la pittura figurativa interpretata con originale creatività. Innamorato del borgo di Cella Monte e in particolare della sua frazione, Coppi, ne ha impreziosito alcuni edifici con le riproduzioni delle sue opere: un percorso artistico a cielo aperto in cui, passeggiando, lo sguardo si posa sui dipinti, sulle antiche pietre utilizzate per la costruzione dei palazzi nel centro storico, delle case e delle chiesette di Coppi e sui mirabili panorami del Patrimonio UNESCO.  

  N.B.; I dipinti hanno tutti lo stesso titolo: Giorno Notte. Le schede che seguono riportano un commento dell'autore e alcuni cenni sulla storia degli edifici che ospitano le riproduzioni dei dipinti.

Si veda anche la mappa del percorso sul nell'aposito menu. 

Alcune delle immagini sono state gentilmente fornite dall'autore. Quelle degli edifici sono state scattate da Viviana Imarisio (ad eccezione del n. 3 e n. 11)


ENGLISH VERSION             

Permanent open air exhibition of modern art on the ancient stones with the paintings of Gianni Colonna on display on houses and small churches between Cella Monte and Frazione Coppi.


Gianni Colonna was born in Turin in 1938, where he lived until 2002 when he decided to move to  Monferrato. He was a student  of Felice Casorati and he always preferred the figurative arts that he interpreted with original creativity. In love with the village of Cella Monte and in particular with its hamlet Frazione Coppi, he embellished some buildings with reproductions of his paintings: an open air exhibition where you can walk and admire his works of art, the ancient stones, the houses, the little churches and the breathtaking landscapes of the UNESCO Heritage.

 1  A captivating Madonna who protects her baby who looks surprised and sees the world, understands the loving gesture of his mum, wants to grasp the apple but he cannot do without his mother’s nourishment. The acceptance of his mother is a sublimation of Love that leads to a moment of tenderness. The opposite perspective compared to a painting by Antonello da Messina is of conceptual importance.

2 We are impressed by an intense light that illuminates the scene beyond the horizon. The sinuous lines of the gentle hills are unwritten words that whisper the good of peace and silence to the world. This painting shows a very strict definition of the drawing that flows into the mysterious sweetness of the colour. The scene is cut by a path which seems neverending. The bright glow may appear cold, but the continuous alternation of the colours of the vineyards leads us towards a silent vision of nature. The desired result has been achieved: the combination of the much-loved past with the modernity of contemporary age, and that is the way it must be, with a vision that can let you imagine a future leading slowly to Eternity.

3 The window is a limit to the woman's desire for freedom who does not accept any interposition. The oval inside the round frame guides her towards a way out and the moon gives comforting hope in her closed room.

4 The empty space surrounded by grass and a signpost stimulate the wayfarers’ curiosity, inviting them to go on and get to the hilltop. The vigilant moon watches the scene, ready to take part. We cannot go wrong and the invitation is peremptory: the goal must be reached!

5 The crossroads leads to the ancient small church of Sant’Anna, surrounded by a wide and marvellous landscape. The tympanum shows the scene of a deposition of Christ  where St. Anne, calm and peaceful, covers Christ’s body with a shroud, reminding us of resurrection and eternal life. The fictional representation mitigates the graveness of this moment.

6 The painting is powerful, never hesitating, the lights are intense, the buttresses lead us far away. The road is traced and the old big house on the hill is waiting for the observer to arrive. The Monferrato, rich in historical monuments, hints that the horizon is beyond the gentle slopes. The hills, like waves, follow one another. Day and night accompany them along their fascinating  journey.

7 The Holy Family flees towards a faraway land, distressed by this departure but with the hope to return. In the distance the village of Vignale Monferrato. The moon overhead is like a bright reference point. Joseph leads the donkey and consoles the Virgin Mary and the Child, confident that one day Salvation will come. It is the inevitable course of events that do not lead to discomfort. The blessed sacrifice of Faith.

8 The scene recalls a 17th -century engraving. The Holy Family rests and the eerie cloud seems to be watching the sacred beauty of the faces of Mother Mary, Saint Joseph and the Child. The stylization of the painting brings the Ancient to our times and the book in the hands of the Saint recalls Caravaggio. Saint Joseph does not desert his people and his presence, always discreet, emerges in its brightness as a precious guide and through an act of love shows the way to Salvation.

9 The man is tired, burdened by a hard day’s work. He is leaning against a tree without losing his serene contemplation of the sunset. The moon to him is a sign of hope for a bettere future. The day will come after the night in a perpetual cycle.

10  This window  is wide open on the balcony, with its typical railing of our ancient residences, and it casts its shadow on the floor thus creating a peculiar geometric pattern. A cane is propped against the left side: since ancient times it has been used to help the painter keep his hand steady while painting. With its shadow it forms a triangle, a very important symbol in our religion representing Holy Trinity. The entire scene intends to convey a great sense of Peace. The typical curved line in the background is one of our beloved hills.

11 The long shadow of the house, recalling images by Dechirico, divides the hill into two green colours. It is a violent contrast that becomes softer thanks to the presence of the tiny light source popping out of the small window that illuminates the trellis covered with grapevines. The vital cycle of the Earth comes back, which is never dimmed and continues to repeat itself. The red colour of the house covered by autumnal ivy is something rare in the artistic career of the author. The final result is the combination of the much-loved past with the modernity of contemporary age, and that is the way it must be, with a vision that can let you imagine a future leading slowly to Eternity.

12 It is the triumph of the woman who emerges in her modernity. The light of the sunset wraps her naked figure who observes and reflects on one of the artist’s paintings. It is a transposition of the Caravaggio-style “Angel” who is not playing any more here. The look is lost on a dream territory and contemplates it. All is calm and still. The fertile vineyards revive the landscape in all its beauty.