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Lucio Pezzolesi was born in Fano (Pesaro) in 1935 and has accomplished his artistic education at the Istituto di Belle Arti (Institute of Fine Arts) of Urbino, which at that time was under the headmastership of Francesco Carnevali. Once he had finished the biennal course of Magistero, he got a diploma in 1956, and specialized in Lithographic Tecnique under the guidance of his teacher Carlo Ceci. The beginning of his didactic career goes back to the same year: in fact he was called by the headmaster of the Institute of Fine Arts of Fano Primo Bidischini to teach Applied Arts in that school. Bidischini’s acquaintance, and then that with the later headmaster Edgardo Mannucci, turned out of considerable importance as regards Pezzolesi’s professional and artistic evolution.
First of all, in 1955 the artist had already gained his first “official”  acknowledgment: a mention at the National Art Exhibition “Incontri della Gioventù” (young people meetings) in which he had taken part with a black and white lithography, that was issued and reviewed in the magazine “Fiera Letteraria” (The Literary Fair). Lithographer, illustrator and painter, Pezzolesi has given birth to an artistic production that was initially marked by a deep socially imbued realism, and then was succeded by a keen interest in the abstract research and in the “materic experimentations”, that is the search for new materials to put into his works.
This new direction of his creativity (that found its way by the use, of the most various materials, such as jute, enamel, plates, cementite, plaster, etc.), began in the year 1957, when the artist started to show his works at regional art exhibitions “Accolta dei Quindici” of Fano (PU) 1957; “Giovani Artisti Fanesi”, 1958; “Premio Marche”of Ancona, 1959; “Premio A. Bucci” of Fossombrone (PU), 1963, to which also the personal show prepared in ’61 by the Galleria Puccini of Ancona is added. It is with regard to the works presented on this occasion that Pezzolesi deserved U. Manganelli’s following judgement: “Pezzolesi is quite a sensitive artist who strikes immediately because of the expression authenticity of his emotions, that coincide with the observer’s… but the two most impressive works because of their balance and the progressive colour relaxation are Solitudine (Loneliness) and Sensazione (Feeling). In these works the artist has really achieved a complete and immediate personal style. In the stroke and in the colour we can observe the deep in himself secluded man, doomed by the perpetual gap that there is between himself and the exterior world, where also the inner unity is, thwarted and sadly accepted” (“L’Avvenire d’Italia”, 20th May, 1961). It goes back to the half of the Sixties the beginning of Pezzolesi’s long and amazing graphic research: from the clear content of the first works he went on to the thematic material of the ‘sign’, considered as the weak trace of a not only interior but also ‘cosmic’ seismograph. These all are works of technical skill, most of them carried out by pen-and-China ink on white drawing paper; in some of them there are ‘in relief’ trimmings on paper.
By means of this constant language, which has been experimented in the plastic and pictorial sphere, the artist seems to long for a point of contact between the exterior macrocosm and the secluding individuality of the single man, and so to hear in silent concentration, in order to give prominence and a graphical correspondence to what he calls the “technological message of the extrasensory space world”. It is a relation between the ‘self’ and what is secluded from it, and this relation is “… as filtered by means of a precision instrument, and rationalized by the registration of a graph. On the other hand this dualism between rationality and sensation is… confirmed by the structuralization to which Pezzolesi commends the liberty of the structuralization to which Pezzolesi commends  the liberty of the strictly determined sign, or rather cooped up in preconcerted spatial limits” (excerpt from A. Pandolfelli’s presentation of the one-man show prepared at the Saletta Rossini of Pesaro, in March 1969). These deepened graphical studies also found fertile ground in the field of more properly “materic experimentations”: here we have the large zinc-plated sheets, with in relief spots, the bright spray painted surfaces and their trimmings made of serigraphied elements; they all are used as a ‘tabula rasa’ whereon the ‘space messages’ may leave their mark.
Graphic works such as these were showed in 1965 at the 9th Quadriennale Nazionale d’Arte (Quadriennal National Art exhibition) in Rome, and at the one-man show prepared at the Sala Peruzzi in Bologna, when the artist was presented by the critic G. Politi, who about him so spoke: “Lucio Pezzolesi is a young artist whose aesthetic interests are stimulated by optic and formal sensation, even if his graphic style, when it is not too much complicated (and in this case it even gets to a kinetic solicitation from the observer, or better it demands an active participation with a pendular movement, to say it clearer), it ends up in a dilution like the echo of a wave on the sand, as to live the amazing adventure of the magic space of the white page”. Towards the end of the Sixties in Pezzolesi’s artistic itinerary, the thematic material of the tactile-sensorial perception takes form: this kind of perception is the supreme moment of the human experience that cannot be disregarded, and the artist wants to win back, retaking its roots and psychologic processes. He had in fact the intention of stimulating in the observer “that not exclusively optic sharing” we usually meet in Art, and this connects him to alike futurist experiments. On the grounds of these conceptions, in ’68 Pezzolesi planned TACT n. 1, a big and closed construction of wood and plastic laminate, which later was shown at the 1st “Mostra incontro” (meeting art show) held in Fano. It concealed in itself the most different materials, which the no longer ‘observer’ could touch through a hole opening made in the front side of the construction. The touch with the stuff without seeing at all, stimulated an almost unconscious mental research, strained to “retake those mental facts of our physical and emotional experiences which still lay in the deepest meanders of our conscience”. To achieve a totally sensorial experience, Pezzolesi suggested also the creation of works that would include the smell and the hearing, in order to eventually reach a total activation of all the five senses; this should repropose “a definite vital action in aesthetic and existential terms”. Perhaps some memories of this interrupted research might be visible in some of his present works, which are fruits of new researches that Pezzolesi is now doing in his studio in Pesaro. In these works the graphic proceedings and the use of plastic stuff and scrap materials do alternate again, they all being ready to change into a keen knowledge implement of the exterior world, wherewith Pezzolesi continually tries to set a connection, by means of his different and lively research activity.
The artist’s didactic career, which has developed on parallel lines to his creative itinerary, led him in 1974 to Pesaro, where until 1989 he taught ‘design tecniques’ in the ‘Art of weaving’ section at the Istituto Statale d’Arte “Ferruccio Mengaroni”. His teaching experience was sealed by the important weaving art exhibition entitled “Progetti e Prototipi” (Projects and Prototypes), which Pezzolesi organized in order to show also to the general public some selected didactic works by the students of the institute of Pesaro. Among the acknowledgments gained for his artistic career we remember the ‘premio acquisto’ of the Comune of Ancona, obtained during the show “Marche” Prize in 1966; besides the silver medal in graphic arts, obtained in the 17th edition of the “G.B. Salvi” Prize in Sassoferrato (AN) in 1967, and the golden medal in graphic arts, obtained in 1968 during the celebration of the “Novi” Prize in Novi (MO). After 1970, when he was present at the 4th Novi Biennale, Pezzolesi didn’t exhibit anywhere else for a long time. He came back to the scene in 1990 on the occasion of the “CronoVideoGrafie”, a collective, multimedia exhibition where Pezzolesi exhibited the work Dissolvenza (Fading) (1967).
Then, in 1993, the artist participated at the experiment born with Fano musical festival “Jazz by the sea”: artists and passers-by have been engaged in the creation of paintings inspired by the concerts that took place on those days in Fano. Pezzolesi’s work is related directly to the musical jazz festival (so that the programme of the evenings is pasted on the painting) and it becomes part of his composition in which the nervous sign intertwines a vivid blue with the black and white. The works performed on such occasion have been recently exhibited in Fano at the Galleria comunale di Arte contemporanea (Municipal Gallery of Contemporary Art).
The one-person exhibition at Sala Laurana gives the artist the opportunity of offering an idea of his whole artistic itinerary from 1957 to 1993. With his recent works the artist confirms his will to represent his [existential experience ranging in the use of diverse methods and materials: the object of everyday use, the discard, the remainder of everyday life fill up with a strong vital presence at the same time in which they are acknowledged as sensible witnesses of the individual existence of the man and of the macrocosm which is its presupposition].

 Pesaro, July 1994

Stefania Francioni

(Biography in the catalogue of the personal exhibition, “Anthological show 1957 – 1993”, Sala Laurana, Palazzo Ducale, Pesaro, 17th September – 4th October 1994).