Dino Carlesi

It would take just a few years into the post-war period for the road to be opened up to the most severe revisions and the most clamorous renewals. If today those canvases seem to be apparent risk-takings for their time, it is because they already lived and breathed an atmosphere that characterized the in-depth research and philosophy of the man in these past few decades.

This autonomy of view and creation was something that Pardini carried with him throughout his various periods: his successive realism (around the 60s) never fully gave in to the figurativism which was so modish at the time and which would go on to taint the work of so many of Italy’s best artists. His vision was filtered by the rigorous lesson of Bracque’s cubism and the limpid and warm emphasis on color in the best of Cezanne. In both cases, the issue of readability was pondered as an extreme connection so as not to lose the fundamental contact to mankind, rather than as a scholarly exercise to achieve naturalism, which in many signified a lack of imagination.

What is certain is that from that point on, “color” became the fundamental basis for research, intensified in the last two decades, which could never be placated by temporary solutions, but would suggest continuous additions and deviations, alternating and blending various contents and techniques, whilst never overlooking the need to summarize, unless with regards to experimental conclusions within the realms of human and social reality, customs, the language of the avant-garde, historical times.

Color which followed the patterns of an innate, interior poetic need (instinctive and not literary), rather than one that is imprecise which can at times be found inside thing. The artist is consistently the creator of emotional situations and direct originator of an existential laboratory in which, happily, these situations aggregate and act.


(Milan …) is an Italian poet and art critic.

He edited the poetry series of books “Le Fonti di Agnano” for the publishing house Giardini.

Over the years he won various prizes for his poetry: “Premio Venezia”, “Premio Monferrato”, Premio “La Pira”, Premio “Castagno-Pistoia”, Livorn’s Premio “Calafuria”, “Premio La Sala”, Premio Il Fiore and “Premio O. De Gennaro” in Latina.

In 1947 Giuseppe Ungaretti included his work in the anthology “Poeti Prigionieri”. He is one of the authors included in the anthology “Poeti Toscani del Novecento” edited by Agata Italia Cecchini for the publisher Editalia, as well as the anthologies “Traversata dell’Azzardo” edited by Domenico Cara and “La Poesia in Toscana” edited by A. Frattini and F. Manescalchi.

Those who have written about his poetry include Elio Filippo Accrocca, Ferdinando Giannessi, Giorgio Caproni, Andrea Zanzotto, Antonio La Penna, Carlo Lodovico Ragghianti, Enzo Carli, Umberto Baldini, Gilberto Finzi, Fortunato Bellonzi, Mario Lunetta, Renzo Ricchi, Vanni Scheiwiller, Giuseppe Zagarrio, Mario Luzi.

He has been a contributor for the cultural publication “Il Grandevetro” since the 1970s.

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