ROME.- Ponti Art Gallery is offering important masterpieces coming from several private collections. The selection starts from an extraordinary rarity: a Maes-Canini’s painting showing The actress’ changing room: it can be traced back to the stylistic language and the ductus of the Flemish painter, both for the originality of the compositional cut of the depicted scene and for the theatrical use of chiaroscuro, typically of Flemish taste, which shapes the figures and emphasizes the details, like the flowers kept in the glass bell, the bouquet placed on the left, the mask lying on the edge of the table, a masterpiece of perspective virtuosity. The second important painting offered by Ponti Art Gallery is a oil by Celommi, The shell’s sound. It shows all the lyrical vein reached by his marine, subjects preferred by his palette, here embellished by the presence of two children lying on the shore and attracted by the shell, just drawn from the seabed, and its magical sound.

The selection of the proposal continues with an oil by Teodoro Wolf Ferrari, Monte Grappa seen from San Zenone degli Ezzelini. Wolf Ferrari is dedicated to the representation of these lands dear to him and chooses the nearby Monte Grappa as the protagonist of many compositions, including the glimpse of the landscape presented here, characterized by the monumental presence of the sheaf. Great importance is given to the colors, in this painting: warm like the orange and brown or cold in the various shades of green, now spread with precision and small touch brushstrokes, now with safe and fast brushstrokes appearing so full-bodied and lumpy. The painting is of great effect, able to make nature and its variations.

Another artist listed in the group of new proposals offered by Ponti Art Gallery is Alberto Ziveri, author of painting Roman glimpse from San Teodoro street. This Roman glimpse, dating back to around 1937, taken from via di San Teodoro, before the demolitions and demolition of the fascist regime. In the glimpse of the urban landscape, built through a ductus pasty and earthy, you can see, beyond the medieval buildings, the profile of the Victorian, while in the foreground the shadows projected on the asphalt, on which lies a car, refer to the Syrian melancholy disquiet of a metropolis condemned to a profound mutation.

The selection closes itself with three remarkable examples of Italian Art of the 20th century: a still life by Giacomo Balla, and two mixed media works by Renato Mambor and Corrado Cagli. This last one – in which elements drawn from the sacral world of extra-European cultures rise to archetypal symbols – let us face with an artistic process inspired by the Jungian identification of a collective unconscious, whose hidden psychic regions emerge precisely through the exploration of archetypes.On the other hand, the use of tracing became fundamental for Mambor’s research, as he was able to guarantee maximum objectivity, recording the events with a neutral look, allowing the suspension of all judgments, putting the individual aside to leave the field to the universal. At first this desire for objectification focuses on abstract, geometric signs, with purely informative functions, but later the human figure also became a further iconographic variant: men stamped on a monochromatic canvas, opaque, totally impersonal stereotypes, created only “allusions perspective”, through silhouettes of different heights, in the absence of light and dark light source.