After having seen and heard how much we favor the art of communication and of transposition when it is applied to the history of one of the most advanced artists in terms of the research of a pictorial and chromatic language which has known no expressive immobility and has developed following its own ideal and intellectual microcosm, to then flow into the universal language of the signs of mankind, we must wonder what could be added to testify to the artistic and human greatness that is Eugenio Pardini.
An artist who for many years has exhausted all the replies he wanted to provide to the very real questions from the past, in the same way that he has exhausted all the hypothetical ones from the present and future. In approximately eighty years of artistic activity, within the stylistic and formal setting of the visual arts, Pardini’s poetics have borne witness – to those in the art world and to art buyers – to the entire range of professionalism and emotions, using, throughout, instruments and material matter to breathe life into memories and imagination, applied to the dramatic and joyous complexity of his 20th century.
Born in Viareggio on 10 July, 1941. He lives in Lido di Camaiore. A poet and cultural promoter, in 1981, he founded the literary prize which he presides over, Premio Letterario Camaiore, dedicated to poetry.
He has published: L’altro io (Campobasso 1976), Già dell’equivoco (Seledizioni, Bologna 1978), Giorni miei: la storia già scritta, (Forum, Forlì 1979), I racconti dell’anima (Periferia, Cosenza 1982), Il melomalessere (Tracce, Pescara 1985), Tartine e/o Quartine (Campanotto, Udine 1990), Nudità degli eletti (Viareggio, 1993). He also wrote the novel Le ceneri rimosse (Newton Compton Editori , Roma 1989).
The most important anthologies and collections that contain his works are as follows: Poesia della metamorfosi (Stilb, Rome 1984), Poesia italiana contemporanea (Vague, Paris 1985), La poesia in Toscana (Forum, Forlì 1985), A cominciare dalla zeta (Campanotto, Udine 1985), Il sogno di Parnaso (published by the Alessandria Biennale, 1986), Inchiesta sulla poesia italiana in prospettiva duemila (Avellino-Riscontri 1986), Guida ai poeti degli anni Ottanta (Spirali, Milan 1987), Le proporzioni poetiche (Laboratorio delle arti, Milan 1988), Le parole dello Sport (Como 1991), La poesia in forma chiusa, (Alessandria 1990), La parola originaria (La Corte, Mantova 1991), Poeti latini tradotti da scrittori italiani contemporanei (Bompiani, Milan 1993), Accessibili distanze (La vita felice, Milan 1999). His writings have also appeared in numerous specialist periodicals and magazines.
The following writers have discussed and dissected Francesco Belluomini’s work: Gabriella Sobrino (Già dell’equivoco, Rome-Bologna 1978), Guglielmo Pedroni, Mario Luzi, Andrea Bisicchia, Renata Giambene, Federico Hoefer, Lina Angioletti, Gaetano Salveti (Giorni Miei: la storia già scritta, Forlì 1979), Riccardo Marchi, Lorenzo Vota, Walter Nesti, Lea Canducci (Forum-Quinta Generazione, 1983), Marcello Ciccuto (Letture in Versilia-Stilb 1984), Rina Li Vigni Galli (Incognita, Milan 1984), Mario Lunetta (Il melomalessere, Rome-Pescara 1984), Antonello Trombadori (Rome 1985), Giorgio Cusatelli, Leonardo Mancino (Viareggio 1985), Stefano Jacomuzzi (Alessandria Biennale 1986), Alberto Frattini (Riscontri, Avellino 1986), Paola Lucarini Poggi (Hellas, Florence 1986), Stefano Lunazza (Guida ai poeti degli anni Ottanta, Milan 1987), Giorgio Barberi Squarotti (La poesia in forma chiusa, Turin-Alessandria 1990), Alberto Cappi (Tartine e/o Quartine, Mantova-Udine 1990), Vincenzo Guarracino (Milan-Bompiani 1993), Manrico Testi (Dalla Torre Matilde alle vette Apuane, Baroni-Viareggio 1996), Enzo Eric Toccaceli (Accessibili distanze, I volti della poesia, Milan 1999).
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