When the art draws to the sources of the instinctive life of the people it always has fortune. However there are moments, in the history, in which the artistic demonstrations are crystallized in the abstract spheres and from this metaphysical veil they go down in the social mass. These two aspects could be, for example, recognize: the first one in the Romanesque art and in the primitives; the second in the Byzantine art that in fact was symbolic, theology. Pino Ponti is near the artists «folksy» both as way of expression, both as representative finality. He tries to communicate with a genuine language and tries to poetically narrate histories connected to the life of the people. Now the artistic actuality, sure that the spontaneous folksy vein and even Barbaric, is the truer, It has played on the stylistic trapeze in the big equestrian circus of the «fauvisme» and It has tried to realize the two historical terms: the primitivism and the abstractism. But in the man and in the other case It has betrayed the artistic order. In the first one It has disguised the vein folksy, genuine and childish, disguising it with complicated cultural stylistic artifices; in the second hallucinating it with cerebral literary makeups. This way the spontaneous art born from the people and the superior art to the people lavished, is transformed in decadent art that satisfies the private person; the artist, the merchant, the bourgeois. Pino Ponti knows these dangers of literary living rooms. In his very nice yard, rich of potential strengths and illuminated by the lightnings of the intuition; in his small or great works the busy struggle can be felt against the stylistic rottenness, pictorial and abstractic. His last canvas, the biggest, are subjected to two objective commitment: the narrated fact and the professional realization. This sacrifice has been compensated with a better pronouncing of the personal characters and with an increased poetry.