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And it is perhaps here that his idea of realism,
that is to be the dominant theme of all his painting, takes form.
The only one to hit the centre with happy intuition and unusual clarity
was young Bruno Rosada, in an article on the occasion of a one–man
show. And Lucatello would remember him with admiration and respect
for the rest of his life.
Because his friends among critics are really few. He realised when
the dialogue stopped at the epidermic level of the picture, at the
often trickful game of forced comparisons, at the wanting at all costs
to find a direction, a group, a comfortable “ism” in which
to flatten him. Then he became rigid, argumentative and to the bewildered
critic repeated his stubborn, misunderstood intolerance to bear tradition
and history. What did signify for him emerging from tradition, contesting
the same arguments of history? It meant looking for a new language,
which brought back the dialogue between man and nature “to the
inside” and therefore “outside” the (historic) system
which produced alienation and destruction. Thus, for him painter,
it meant “looking” at reality in a different way, making
realist pictures that broke classical perspective and proposed a new
one: concentrating on a detail and allowing it to spread without preconditioned
limits.
Proposing an alternative way of considering nature, of considering
man, of thinking of oneself.
And he always showed diffidence towards that so often gratuitous avantgarde
art, lacking in interior structure: everyone has his geographical
and environmental roots, like a plant, like an animal, and it goes
against nature to ignore them. A cosmopolitan painter, he said, is
just a travelling salesman. |
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