‘Il Re e il topo riconoscente’
Textured silk-screen print
Edition La Riva Art Gallery
Print run: 100 Arabic Numerals, 50 Roman Numerals.
Publisher’s certificate of guarantee and blind stamp.
Work signed and numbered by the artist
Professional packaging and SDA express courier.
Biography of the artist:
Pino Procopio was born in 1954 in Chiaravalle, Calabria. He already enjoyed modelling clay during the nursery school. At the secondary school he made erotic drawings, for which he was reprimanded several times. He attended the art school, then he enrolled in the faculty of architecture in Rome, never neglecting his artistic activity. In the 1970s, during his walks through Rome, he started to attend some galleries. His first exhibition was opened in Rome at the art centre ‘La Bitta’ in 1980.
After that, there was a flourishing artistic career, rich in production and exhibitions in the major Italian towns. Procopio’s artworks express irony, sarcasm and even cynicism. His artistic expression is provocative, without preconceptions, revelation of an intellectual delicacy. Now Procopio is recognised among the greatest Italian and international masters of the 20th century.
As a drawer, painter and sculptor, Pino Procopio has a strong and sharp irony. It is sufficient to look randomly at his drawings (watercolours, temperas, oils, bronzes) to understand it immediately. Or it is sufficient to look at his women: Virginia, Ida, Sara, La donne di Malta, Vedove bianche, Promesse spose. But although he may treat them cruelly, he loves women as Fellini did. Procopio stages a feast for the eyes, the senses and the fantasy. It is the world seen through a bad-tempered eye with a distorting lens, and given back by a petulant temperamental hand, drawing with quick incisive lines. They are both prone to the play, the laughter, the caricatural humour, the parody, a bittersweet, cheerful and hilarious parody. Procopio’s first quality is irony. In his case, humour is not the opposite of irony, but it arises from irony. Irony is a basic attitude, which also has a moral value, but it is not connected so directly to the problem of good and evil. Between irony and humour our artist inserts a distorting glance, his caricatural impulse, his expressive imagination. It is from here that laughter, humour and fun arise. Procopio has his own idea of irony: “Irony - he says - is effective when there is immediacy, and exasperating it becomes tiring. That’s why I paint straight off. I have to finish a painting as soon as possible, before it finishes me”. The genesis of Procopio’s painting is in Chiaravalle, where he spent the years of his childhood, and in Rome, where he developed his vocation for art. Some of the subjects on which Procopio uses his ironic talent are the couple, the relationship between two people, the marriage, a reality familiar to him since his stay in his native Calabria. Procopio says he doesn’t love satire, but this is not entirely true. There is a lot of satire in his artworks and he spends his caricatural inspiration on everything and everyone: society, culture, history and mythology. He knows art history well and does not hesitate to parody the mythical figures of the past, whether they are Piero della Francesca, Mantegna, or Antonello da Messina, just as he does not hesitate to parody the gods or demigods of mythology. After the art school, Procopio had attended the faculty of architecture. It would have been more than logical that Procopio, after taking his degree, joined the studio of one of the masters of that period and started his career as an architect. But it seems that his vocation was different. “Painting is a destiny”, Matisse said. So he started to be a professional painter, giving vent to his talent of ironic caricatural artist. “It could only be that way”, he commented. Drawing is his strength. Procopio is a lonely painter. “It’s true, I am a lonely painter, since 1984 I have been living in Giulianova almost in solitude. What do I do when I’m not working? I listen to silence. I dream the picture I’m going to paint. If I hadn’t become a painter, I would have been a carpenter. In winter a carpenter, in summer a fisherman”.
- Pino Procopio
- Titre de l'oeuvre d'art
- Il re e il topo riconoscente
- Taille de l’image
- 50×50 cm
- Dimensions totales
- 50×0×50 cm
- Cadre inclus