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| Fragments of an immense fresco |
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by Guido Perocco |
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At the beginning of this book on the Painting
of Ernani Costantini I read two verses by Charles Peguy. The coming
together of this poet with Costantini is not casual, because two characteristics
of Costantini’s personality recall that of Peguy: his order
and his passion. The order derives from a religious meaning to
life in relation to its ultimate purposes. This notion is a crutch
to life and brings a sense of joy to the artist’s creative
imagination which is free and innocent and is therefore able to
maintain a certain youthful passion, a fresh and affectionate approach
to life, commonly found during very early youth, the typical age
of passion.
In order to understand Costantini’s paintings this pretext
is essential. Imagination touches every scene created by the painter,
so that things become weightless, and are positioned according
to a different law of gravity, not the usual one, a law which does
not take into account the specific weight of bodies, but lets flowers,
oranges, vases and even bread float above the table.
Figures have no weight either, and are often depicted as apparitions,
images paused for a moment before our eyes before disappearing,
as if in a dream.
Deep down however there is an order which regulates everything
and which holds down everything which would tend by its own nature
fly. This principle which is both structural and artistic in the
paintings also fulfills an intimate need of the painter and his
work.
Costantini’s painting, after this first appearance, should
be observed at close quarters. It may be scrutinised using old
fashioned standards as it is so well done, carefully executed,
pondered and is spontaneous at the same time. Having said that
it also bears the defects of the innocent painter, who believes,
eyes open, in the beauty of the creation and who allows himself
to be enchanted by the spell of every subject, even those subjects
that todays’ artists tend to avoid so as to avoid revealing
too much of themselves.
Today’s painters usually prefer to tend to their own interests,
avoid mistakes, affix their badge of recognition, look after their
own clients while taking into particular consideration the demanding
eye of critics who are only too keen to categorise each artist
with a label.
Costantini is a free and authentic painter, typically venetian
in his colour preferences, and in the simple joy he shows in expressing
himself through colour, which adds emotion to his creativity and
brings in itself an ancient enchantment.
He recalls, without realising, and without planning, eighteenth
century venetian painting, with that lighter style, typical of
frescos, where the most precious fragment blends into the context
of a lengthy narrative, where everything becomes airy and lofty
and the angels fly together with men, the female virtues, soft
and well- nourished, to glory, time and fame. Figures, fruit, flowers,
landscapes, and still life by our artist are fragments in his unique
immense fresco. The style of this fresco joins that of the eighteenth
century with Art Noveau, without passing through the nineteenth
century, he knows the secrets of the great painters of our age
and he joyfully frees himself from them, to feel more secure in
his own song.
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Guido Perocco
July 1973 |
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