Piero Guccione

Piero Guccione is another one of those artists that frequently occur with their works in exhibitions supported by Euromobil Group. His birth is May 5, 1935 in Scicli, in the south-eastern Sicily, in the province of Ragusa, a few kilometers from the sea facing Africa.
The mother come from Scicli and the father was from Modica, excellent tailor, with a marked musical propensity as many artisans of the time.
One of the fondest memories is linked to the adventurous train journeys, after the war, to Catania, where his father used to bring the family to attend oeuvres the more loved, the Teatro Massimo Bellini had begun to set up: memorable - for Guccione boy of twelve, thirteen years - a Norma with Maria Caniglia and a no more your Gigli, frankly unreliable in the body of Pollione.
The sensitive nature of his father was certainly a good ally for Guccione against her mother, who wanted at all costs that the son be a doctor, when the family had to decide its fate: to abandon his classical studies, moreover unappreciated, to devote the true pleasure of drawing and painting. As a result of this decision, he attended for one year the School of Art in Comiso (a beautiful and well-equipped school where you worked very seriously) and in 1954 in Catania, he completed, so to speak, the art studies, graduating from the Institute of Art, where he spent three years, perhaps the happiest of his small school career. Just that year, however, during the summer, suddenly died his dear "ally" who, along with a sore grief, left him with a free consciousness to act and to move according to the impulse and the need for freedom usually strong and deeply felt by young people.
Rome was the city of dreams, because there resided the most admired artists, from Pirandello to Guttuso to Mafai. That was, therefore, the natural choice. So, on a beautiful October morning, together with the friend Lucio Schiro, who would host the first few days in the house of his uncle, he found himself in the Eternal City without many landmarks, but with the idea, or rather, with an instinct quite clear about what he wanted to do. During the twenty-seven years that followed - such was the duration of his stay in Rome - in spite of the importance and the density of events, encounters some fundamental or even decisive as marriage and the birth of her daughter Paola is unable to isolate any element of what appears as a lump of chaotic life distanced, lost forever in space and time. These were difficult years, especially the first, for the precariousness of resources, but also for a paralyzing shyness that was carrying and that did not facilitate his life. There were some, however, sympathy and friendships with artists and young age (some of them - such as very rarely happens - still active today, such as with Franco Sarnari), some love, always complicated by shyness and the first illusions
disillusioned and mortified vanity, along with tenacious hope (without any knowledge of hope that it was). And yet, in this long and controversial path, Guccione today can be said to have found some more generosity than avarice, more good than bad in substance, resulting in a sense of gratitude for the fate reserved for him.
The painting was the center, the dominant feature that accompanied his steps. Modifying from time to time for cultural conditioning, and even according to the houses inhabited and frequented places. In a sense, despite his modesty, this could be an example that serves as confirmation of self; the thought of Merleau-Ponty, according to which the painting, even when it seems destined for other purposes, "do not ever celebrate another puzzle that the of visibility. "
This has always been, and increasingly, on the path to maturity; maturity of not only of years, but also of mind and heart.
From Rome to Sicily, where Guccione goes back to live by the end of the seventies, the path, good or bad, can be found in his work, the only valid witness that he can give of his life. Because even of these last twenty years (as well as a loving tribute to Sonia), along with wear certainties, all the experience of the experience seems to be cancelled while that of work is almost perceptible only placed between the thumb and the index of the right hand: that is to say on the “alveocorporale” where the brush rests. In everyday attempt to quote Merleau-Ponty, to reveal the visibility of things and their enigma. Che, in Sicily means especially the elusive vision of light: shining every day of wonders as never seen before. 

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