1932

The «Poligono» is a magazine of studies, and exactly for this it has a program of action. Neither the defense that has been setted out, on these pages, of the independent values, can be conducted only with words. Serves, the shows that here and elsewhere will be ordered, of test of the fire: or, even, of countercheck. The youngest generation is always the more looked in the foreign life. Here instead it seems that the Art has to be still a phenomenon of serious Academy. Also, the last Italian artistic generation, comes after the Nine hundred reactions, already affirming in one ardent conscience of it self, clear and vigorous. Pino Ponti is, among the young people, one of the more develops. «Il fulmine e la Centrale Elettrica» and «Bagnanti» in Brera in the '27 immediately underlined his fantastic and abstract nature. Then the '29 and '30, were for him, instead, a resumption of contact with the alive meat: portraits, figures, models, chiaroscuro. But the '31 setted again him free in his fanciful nature, it was express in a more serious vitality, in a dryness more penetrated, in a thinner taste. Do you know the sketches of Ponti? His line doesn't sheathe a form, it doesn't delineate a field. It is a block without peace. It seems that he enters and penetrates, to discover other submitted plans, and not never with the clean gesture, the surgeon's divaricating, but with the shiver of the water diviner. It goes down within for a fantastic impetus. And this «other» atmosphere, this enchantment of dream, this new measure of the world, this always evasive rhythm, even if he paints two young girl on the beach or a surgeon to the operation, it bounces it in a lyric value.