THE NEW GENERATION:
generally known, now that when you speak of the intellectual
art as a mind's will, you exclusively refer to the «new
generation». And it is undeniable that during the last
thirty years the Italian painting in particular has reached
remarkable levels through a vanguard school which has a considerable
importance in the artistic background nowadays.
if you watch the scene of the Italian contemporary painting
carefully, you will notice at once that there is a clear-cut
distinction among the different generations of artists. That
is to say, in Germany and in Italy. As well as in England. The
age has a fundamental importance: and also considering some
possible influences and contacts of secondary importance, the
division of the artists according lo a chronological scheme
is a generally accepted practice now.
As a matter of fact, the painters are grouped into three great
categories: the «pre-war» generation; the so called
«middle» generation and the «new generation»,
which groups painters born between 1928 and 1940, most of them
coming from the same schools and all of then, yet with different
tendencies, sharing the same cultural background. Undoubtedly,
it is this group that plays a fundamental role in the artistic
scene of our country. Giuseppe D'Auria is one of the protagonists
of the «new generation», even though the word «protagonist»
sounds too strong if referred to this artist. As matter of fact.
He is a forerunner who has never propagandised his precocious
concepts too aloud, as this is the critic task.
The artistic world of this painter, which had its first expression
during the sixties and has been brought forward in the same
way until today, is based on a complex culture of colours, which
is mostly employed (in different cycles, of course) as a basic
theme. The starting point is often an experience of nature,
a «cosmic» adventure, in which all the phenomena
The artist's works witness his individual point of view. It
is an art of thought, aiming at changing life, in an age in
which the tradition of Italian culture seems deprived of its
contents, values and morals, and a change is thus extremely
necessary. He announces time when the world and the immediate
reality themselves will become the objects of a transformation
for all men.
To this purpose, my interpretation of his works differs from
the ones that many «colleagues», whose work I do
Have suggested to the observers who, free from any form of dogmatism,
come to a complete understanding of the contemporary art, without
considering it as a mere succession of particular styles.
In the predominant (changing) activity of an age which finds
its expression in (changing) themes which sect" to me legitimate,
Giuseppe D'Auria widens the frontiers of art as well as his
individual position through «the new generation».
His works cannot be considered as classic examples of «subjective
expression of interior life» indeed, but this is because
he quietly questions the definitions of faith and of moral justifications.
Undoubtedly, he is an attentive and informed observer of the
contemporary artistic scene, and not an ingenuous spectator.
And it is just for «his awareness» that art cannot
be confused with simulations or false vanguard attitudes.
He does not try the forms, the materials, the acquired liberties;
he does not shatter the canons of the «artistic night»;
he does not beget all the eccentricities deriving from the fever
of our rhythms of life.
His extraordinary peculiarity does not lie in what he realizes,
bit rather in the fact that his works are signs, calls to the
universal love. What is extraordinary is the power of the truth
based on reasoning; that truth that makes us understand and
enjoy the different meanings of things. A new «reasoned»
balance among time, man, we ourselves and... God.
This is perhaps the strange destiny of the one who has dimly
seen the path of justice and truth, which all men should be
called to. Were this conclusion really accepted, it would be
great and amazing. But it is necessary to take into account
two today's dangers: the former is to let people consider obvious
and expected what is not, since this requires a serious, compromising
and decisive choice to be carried out; the latter is to fall
in the trap of those who, to get rid of a problem, speak about
it so much as to stir up nausea and then indifference.
But the truths are eternal, even though the historical fashions
pretend to make them modem, advanced and out of fashion. The
real spirit of will has always existed in the sensibility of
those who do things only because they have to be done. Shortly,
in the sensibility of those who have realized that both truth
and justice cannot be found on the stalls of art.
There are artists who like inventing the «evident»,
and, even better, there are those who like making evident what
are not. I do not mistake the truth for the real: art really
exist, but it is no more true, while D'Auria's «verities»
are not only real, but also true: the truth shows a new way
of approaching reality, which is no more intended as something
limitating the sphere of the individual thought, but as an essential
part of it, in which the artist's thought can influence the
artistic word: the attempt of paying off a debt with the history
It is not presumptuous to affirm that Giuseppe D'Auria even
revealing the urgency of the transformation, does not escape
this world, but he sees and shows it, and he compels us to look
at it as something that needs «presenting» and not
to «represent» the love of the new life.
Driven by a stranger passion than egoism, he spreads and leaves
his message as a renewal of the sensations and not as a hedonistic
flight from the world and life.
So, it is impossible to avoid and forget it, as this would mean
to avoid and forget a part of the world. In
the perspective or the artistic production, one has to take
into account the fact that actions and words, ideas and events
must necessarily coincide. To this purpose, Giuseppe D'Auria
opens the door, hill of promises, beauties and prophecies, to
the immediate future, as a key to all futures. Whether you like
or not, Giuseppe D'Auria is a meaningful representative in the
historical perspective of the Italian contemporary art (and
not only Italian), that both thinkers and creators have defined
as «the new generation>), by means of which one has
been able to conceive the artistic and intellectual activity
as a mind's will.
Paolo Olindo Giusti