1934

Pino Ponti doesn't surrender. Among so many softenings of the public climate, neoralism, neoclassicism, neohumanism, antigotticismo, mediterraneità, that reaches the only result of a bourgeois compromise, Pino Ponti defends, again, with this exposure, the climate of the revolution. After so many risky impetuses and blind hazards, many seem to now want to look for a superior equilibrium, the impossible norms of an objective art, as if life could be founded on anything else other than on the life. But in front of the pictures of Ponti, here that people are still forced to think, as before to another effort of total rearrange of the world. For this I like this painting! because it goes to the root. And does this world shine, here, in its triumph? From «Fulmine» and from «Bagnanti» exposed in Brera in the '27, to today, already from some years this young boy is thrown to the adventure of this other world. Here the relationships of line and form, the drawing analysis or the plastic syntax, the relationships of color and light, of light and shade; here the relationships of full and motion, of man and of space, of the thing and of the eternity, they are not already repeated in measures established by others , neither they are those of the world that every of us, for itself, has conquered. If, entered in the labyrinth of the unknown, to the discovery, to the adventure, Pino Ponti doesn't just offer you the whole plain regulator and himself sometimes turn believing to find, and to find the light he first have to go to the fund of that dark, that's not what counts. From years I follow his painting: and I have never seen him give the shoulders to its call. For him the painting has always been the language of the revelation: it has never become a profession a production of portraits or dead natures. But also when it is only the search of a language; also when he seems to ask to the great brothers of the adventurous European revolution of the art he doesn't find; something waves, that is never joke, that is not game.