- 1980 Aprica - 1983 Pietrasanta - 1984 Pisogne - 1986 Iseo - 1987 Breno - 1989 Crema -
 - 1991 Darfo - 1997 Darfo - 1998 Piancamuno - 2002 Breno - 2003 Pisogne - 2005 Edolo -
2010 Museo della Stampa -


Giuseppe Piovanelli
An artist should always show his personality, even his physical aspect, simulating or interpreting a way of being.
Can this attitude play an important role with the observer?
Yes, it can. The artist can certainly exploit this role.
Here the artist’s culture is at stake and his personality is highlighted: behaviour, dialectics, these aspects can justify his work. Who can they favourably or badly influence?
Who is in charge of explaining or appreciating those frank, sincere or false interpretations that are put into comparison?
Does an artist unwilling to expose himself, even physically, put his works at risk of wrong interpretations and judgments?
It may happens that artists whose “propitiatory deities” don’t meet with some people’s favour or nobody competent with the right address are denied to enter History. What does all this mean?
Is it a poor culture that our critics or historians could apparently make us believe? Is it really like that? The artist builds his own culture that the critic and the historian must understand.
The process of the artist’s appreciation is accomplished through the critics and the historians. The artist only tells us about his works and himself.
Ideas and concepts are useful to ripe and estimate knowledge, the environment grows and is assimilated with culture: the artist takes possession of it, he interprets it through intentionally reshaped and highlighted expressions.
That makes the artist take part in History in his own environment.
This environment widens its dimensions and embraces other cultures that compare the artist with a particular moment in time and with the past.
All that rises the artist over judgements pros and cons, safe from twisting formulas that, in any case, don’t influence the result of his work always “free”.
The artist and his work will always exist.

10th June 1982



Giuseppe Piovanelli
Every single figure doesn’t make sense outside its own scene.
The scene doesn’t make sense if uprooted from the reality of the rock.
The rock doesn’t make sense outside its environment.
The environment is landscape where the man created the scene.
The creation of the scene was motivated by existential, emotional and contextual factors that must not be ignored.
Did perhaps kitsch and free, improvised aestheticism exist also in other past ages?

March 1983



Primavera 1981

Paesaggio e lago 1982

Venere 1982

Volo di colombe 1982

Figure nel paesaggio 1983

Casolare al lago 1983