THEto fantasy, the dream, love: they are The spirits guided by Cinello’s sophisticated painting, raised in a happy and protected countrywhere evil and pain are unknown, a fertile and peaceful place of Italy, as is Piacenza. In a attic full of poetry I went to visit Gustavo Foppiani, in discreet collections I saw very human inventions by Luciano Spazzali, in an airy and ordained study I visited on several occasions Armodio.
More episodically, rare in homes, exile by museums, I met Cinello, name of art by Umberto Losilyrical with an exhausted, refined and exhausted inspiration, whose tenuous voice is granted with that of Leonor Fini: a subtle, feline eroticism unites them, without a direct filiation. It is an instinct, a sentimental affinity. Difficult to say where this grace comes from.
Certain, The figure of Piacenza is a natural eleganceshared with Foppiani, a light, impalpable euphoria, a silk painting. It is chamber music. Gottfried Benn’s words are valid for Cinello for Chopin: “Never composed a work, never symphony, only these tragic progressions for conviction of virtuous artist and with a small hand”.
That’s the case are the paintings, always small format, of Cinello. Variations of a single thought, of an obsession, with infinite nuances, in a dawn light, twilight, with visions of the East, between domes and minarets. In front of these apparitions, they dance and play, with movements of mimes, its impalpable characters, masks of a very personal theater.
They dance on stage or overlook windows of towers, castles or buildings of exotic shapes Like the cities of Yemen: Sana’a, Aden, at Mukalla, Sayyan, Shibam, Tarim, Seiyun. «Yemen, architecturally, is the most beautiful country in the world. Sana’a, the capital, a wild Venice on the dust without San Marco and without the Judecca … is one of my dreams »writes Pasolini, and Cinello those places paints.
Umberto Losi called Cinello: “Maternity with putti”, 1976 (Courtesy heirs losi).
They are admirable inlays, dreams, transfigured nights, ghosts of a lost world, female figures on stoves or bicycles, in a perpetual dance. In cinel the grace belongs to women, children, angels. Perhaps on the horizon he imagines a Venice clouded by the fog, in the form of a domestic East, dominated by colored domes.
And somehow Byzantine are his hieratic Madonnein majestic thrones against enchanted cities. Static and solemn images for a non -existent religion. Idols. Queens. Illustrations for miniator codes. Cinello is an orphan of God, and continually evokes it, with the blind faith of the amanuensis. The most mischievous and winking Madonnas, but always rigid, coexist with harlequins and harlequins, sinuous and moved, distant homage to Picasso and Severini.
Even in the most composite works of Cinello nothing happensas in the Lion and the bird Against a forest of trees like Moschee Cuples: always a dream of the East. An invention of 1956, in which Klee (loved by Foppiani, in the same years) and Mušič, in the evanescent mists of memory are mysteriously crossed.
The dream continues neither Serenata of 1957: two discounted girls play a mandolin and a violin in front of women on the balcony of an enchantment buildingor. A building that gets mess, before their abolition in 1958, in a prodigious painting with naked girls on the windows, two women on a lacquered dresser and a dance: a poetic and magical tolerance house.
In other paintings, Cinello confesses his childhood nostalgia, as in the eight purity of My world: three children, of different ages, in a straw chair. In another fascinating internal, with horizon of domes, you can see a naked girl lying on the usual dresser: she is pure poetry. Cinello is more insinuating and sensual than Coevo Foppiani, combines, with infinite grace, Klee and Leonor Fini, apparently incommunicating worlds if not in his enchanted garden, the place of his perpetual childhood.
The furniture hide Venus in the drawers: In his dream, between the 1950s and 1960s, Cinello borders Eugène Berman, with Domenico Gnoli. So Laura Riccò Soprani summarizes her production: «Cinello distinguished himself for his original, autonomous, unique painting, extraneous to the current patterns, characterized by constant denial of the rules of perspective, with a very accurate technique and a scrupulous attention to the goodness of the materials». 42 years have passed since Cinello’s death, but neither fashions nor variety of tastes have altered the seduction of its timeless, unrepeatable and inimitable inventions.
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