Pino's arts | Artist | Arts | www.yequeen.com---------------------
 

             The Dining Room,oil,32"by 38"

 

   

"This is an image that I have played with in my mind many times.It's reminiscent of the grand dinners shared with my mother and her sisters and young cousins.It always struck me how quickly they created the feast and how diligently they cleaned up afterwards."

 

  Considered unimaginative and artificial historical painting; and the Macciaioli, 19th century Tuscan painters who reacted against the rule-bound art academies and looked to nature for instruction. But Pino didn¡¯t limit his visual instruction to painters. He credits Italian film director Fellini with fueling his interest in Neo-realism, about which he has recently written a book titled Pino: Contemporary Realism.

Surrounded by aunts, sisters, and female cousins beginning at an early age because, he says, ¡°during World War II, most of the men were at war or dead,¡± Pino learned to revere women. His art is a marriage of his past and present. In some ways, he projects through his paintings attributes of the women from his childhood, who assert ¡°themselves into my dreams,¡± he says. ¡°I don¡¯t always sleep well because the women, they come to me. They want to be painted.¡± So, using his imagination and staged models, Pino draws forth his past, laying his memories on canvases today.

His challenge is to infuse his present-day models with his childhood memories and ¡°the soul of his current subject.¡± That¡¯s not an easy task, even for a man who so exuberantly loves the women he paints. It is one thing, Pino says, with disdain. ¡°In [painting]humans, my joy and my trouble is to penetrate the object. It must become part of Pino.¡±

In order to ¡°penetrate the object,¡± Pino says he cannot talk with the woman he wants to paint. ¡° Women are just too interesting when you talk to them,¡± He says, adding that conversations with his subjects result in the loss of the mystery and complexity that are the basis for his paintings.

Pino doesn¡¯t limit his subjects to women, however. He also paints old men and young people in rural settings of domesticity. The inclusion of his paintings in galleries, museums, and shows that feature Western art is no accident. Pino, who is particularly round that his work is included in the Autry National Center Masters Show and the Prix de West, believes there is a logical explanation for his popularity in such Western venues. In addition to the fact that his paintings sell well, they also are helping Western galleries and museums that want to expand their artistic repertoires.

Despite his popularity and success, Pino has a secret dream. Everything is in place for him to do a magnificent painting, a masterpiece. ¡°It¡®s like a fresco, OK?¡± he says. ¡°Huge, sixty by sixty, with twenty people milling about after a Catholic mass.¡± Pino has all the sketches, has done all the research. All he needs now is time to do the painting.

¡°I want to explore,¡± he says. ¡°I want to make [this painting] panoramic. But between the talk and doing it©¤my god, you know? I¡¯d need to take a vacation for 20 days and then start the project.¡±

Pino¡¯s career has become somewhat of a family affair. His wife, helpmate and the love of his life, Chiara, is by his side, encouraging and supporting his work. His daughter, Paola, assists him with the technical aspects of his business while pursuing her own dream of becoming an actor. And his son, Massimo©¤Max to his father©¤helps with the distribution of his paintings and was instrumental in the publishing of Pino¡¯s book.

Pino readily admits that he is a happy man with no regrets. ¡°Everything I did, I did because I wanted to do it, ¡° he says. ¡°I pursued and have been involved in art 100 percent, and I¡¯m happy.¡±

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