Piero Sadun (Siena 1919 – 1974), Homage to Giorgio Morandi
Oil on canvas 60 x 51 cm. On the back, dedicated “to my dear friend Gastone Pattelli”, signed (Sadun) and dated (58).
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“If I would like to agree with something, it would be in the presence of a culture, which for me does not already belong to the past: the figurative culture that has as its focuses Braque and Morandi. I am pleased to write it because I am pleased to move in the light that above all these two emanates, and because even if it appears manifest, it must be clear that I do not pretend not to notice it, then maybe it will all be wrong, it is my way as reflected in a bottomless mirror. It would be much easier to follow an easier route since the painting has now reached a point where there is no more account to be given to anyone.You do not know if you tend to the object or the image. There may be that the image and there is no image that does not mean something: but this something if it was a personal case of the artist must not remain a personal fact of its own.The form, of course. And it can be found in an account new return”.
With these words, Sadun presented himself to his solo show at the Galleria “Il Pincio” in May 1953, underlining the influence of Morandi’s painting on him and on all contemporary artists. An influence that is clearly visible in the work presented here in which the Sienese artist takes a genre, that of still life, loved by the Bolognese painter, filtering it with a sensitivity that we could define informal-Cubist.
As Brandi wrote, in fact, in the Fifties, “Sadun had a cubist phase, on a dark chromatic base, with decompositions that always let something survive, like a flash, of the starting object. But always, as before and as it will be afterwards, there was, in his way of attacking the canvas, a delicacy, a subtle choice, the taste of a painting that, even if it seemed pleasant, tended to be a painting for painting”.
These are the years that see him engaged as a teacher of History of Costume at the Centro Sperimentale di Cinematografia in Rome, at the headquarters of which he frescoes the wall behind the altar of the chapel. After the exhibition at the Galleria il Pincio in Rome (1953), he won the competition as a teacher of Fine Arts at the Art Institute of Urbino; of February ’55 is the exhibition at the Galleria la Medusa in Rome with sixteen paintings inspired by the circus. He is again at Medusa, the following year, who holds another personal exhibition, while in Spoleto he is awarded at the IV National Exhibition of Figurative Arts.
In January 1956 he was present at Palazzo delle Esposizioni in Rome in the exhibition set up to celebrate contemporary Tuscan artists. In February 1957 he exhibited in New York, in ’58 obtains yet another recognition in Milan, this time in the exhibition “Young Italian painters”; in ’59 he won the Agip Prize at the Marche Prize, but this is the year of exhibitions in Milan, Verona, Turin, Bologna, Rome and, in Verona, as part of the 54th Exhibition of Figurative Arts. The RAI also entrusted him with the illustrations of the publication of the third radio program. In these years he began working as an interior designer, taking care of the design and the interiors, which will continue until his death.