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CRITICAL ANTHOLOGY

 

1954 - “LA FONTANELLA GALLERY”  by Virgilio Guzzi

«He is young, but his free manners would make us believe mature artist in the full possession of means. But what matters is freedom (that is, then,  energy to feel,  wealth of inspiration)  with which the young artist expresses. Nothing of academician is in him.  You warn the anxiety to represent a psychological reality of dramatic stamp. He is not a purist, an elegant decorator, a calmed and mimetic spirit.»

Announced by G. Falcidia in the Minimal Monography from “Il Taccuino delle Arti” supp. al n° 8 July 1956 

1954 - “LA FONTANELLA”  GALLERY by Virgilio Guzzi

(...) He is an authentic artist who without esitating in the refined solutions of an elegant and sensitive decorativism, directly faces (…) the only problem of the artistic operation: the creation, that is of a finishedly expressive style of the really internal world, of an individual and recognizable language even without expiring in the formula or in the manner

1957 - ENZO PETRILLO AT “THE SALETTA” by Giorgio Falcidia

(…) Supposing the great oil «Figure» -- I° National Show of Cesenatico reward 1955 – presents to us a more resentfully “cubisting” plant, it’s even true that the chromatic kneading is visible, already thick and tormented, in a elaborate layout, abundant with quivers and of luminism passings, all jump and sudden choke

1958 - L’ATTICO by Lorenza Trucchi

(…) anyone is really on the level and clear out from intellectuals and aesthetical preconceives must admit  to be in front of an almost “talent” (…) The emi-abstractions of Enzo Petrillo, still lives, portraits, landscapes from the uncertain contours, corroded, soaked by a dangerously supple and refined subject originates from a sentimental, extreme reality product of the Roman school (…)

(...) He goes on doing his sensitive sentimental inventory of the objects, submitting the reality to emotional maceration all sorts of (…)...the color has his high and beautiful song.

 

1959 - IL SECOLO D’ITALIA – ENZO PETRILLO COSMIC PAINTER by Paolo Emilio Puccioni

(...) Across this complex of works, that represent more or less in brief the activity of Enzo Petrillo, it’s noticed that he has had first contacts with the cubism, then with the abstractionism and that today he is addressing toward new forms, which, though remaining non-figurative, are directed toward a reality that could be defined cosmic

 

1975 - ASCENSIONAL AND DIAGONAL QUASAR by Vito Apuleo

(---) Angel or demon, or contemporary in the operational times, this symbol-man proposes himself as point of reference, nearly to re-examine the concept of an man intended as measure of the universe.(…), Petrillo searches paradoxically the solution, across the fragment. A fragment on which he furiously attacks, on which he experiments the entirety of the operational possibilities, then to  shatter it, as he reaches the center, the heart of these possibility (...)

  

 

                                                                                

 

Cosmogenesys

 

(…)  In my Quasar at S.Egidio in fact, the pluralistic elements that compose it rotated around the symbol-character and the anxiety was felt to represent a psychological reality of dramatic, now existential, now allegorical timbre, to evoke, through an animate and winding space, a mechanism on the rails: a complex of colors, lights, shapes about to change themselves into cosmos and this compact of flashes, appearances and jump, of pure poetic notes in contrast, of romantic gasps, the whole however intimately structured and experimenting with thinness its real subject (....)

da: "THE STATUS IN ROME" by V.O.M. PETRILLO  

 

 

1984  - THE STATUS IN ROME by V.O.M. Petrillo

All that Man makes, not only for his primary needs, but to produce sculptures, paints, architecture, music and sciences, apart from  being a physiological requirement, it is also a opportunity to leave a trace of himself, (… )

Of course, computer science and technology, laser, satellite and over have created a different relationship of the knowledge and the feeling of the possibility of atemporality that has always been practically present in artists and thinkers’ mind although in their unconscious (Marco Aurelio Antonino, Proust ). 

In my work the calls to the pompous, intense and dramatic baroque, though filtered by a culture with Mitteleuropean character ( where the first main artistic movements had their origin and which part of the figurativeness of the other side of ocean, and not only that owes to ) that has to be intended not so much as a matter of elegance but nearly as the choices of materials of the pop and Dadaistic sappers or, after taking a look at the more authentic facts than a Mediterranean sensibility, from which who sets the matter of the creativeness can’t put aside without reverting in the spirals of a too easy post-modern. The disintegration, though sometimes with character of analysis, presented all the faces the prism which Man is composed of, equally enlightened but separated and put forward , however, like the planets in the space, in the tragedy of a continuous leaving the one from the other and dispersion. 

By my operating I try to rebuild it globally without my being satisfied of the circumscribed compulsoriness of a physical character anymore, but finishing in a larger entirety the adventure of a certain condition of the moment (...)

2000 - VINCENZO OTTONE MARIA PETRILLO/ART WORKS announcement by Alessandro Masi

(...) there has always been some little detail in the style, in the form or in the sketch, able to make me identify which pictures or which sculptures belonged to the same artist. Observing the works of Petrillo, instead, I found hard to point out that detail and I have said to me that perhaps the characteristic of the artist was just that one: every artwork is special. In fact while some representations leave wide space to the abstraction, and then notably stimulate the creative imagination of the look, other ones seem more founded on the tangibleness, with very exact shapes, hard to move away from the as many exact and tangible shapes of reality.

 

2006 - PETRILLO  by Alberto Franco

(...) All the exponents of the contemporary art from Burri to Guttuso, from Balla to Treccani have known, approached, pursued, rejected each other, in an environment abundant with ateliers, galleries, circles, where opinions and the most disparate sentences were woven,  but where, finally, art was the main topic.Petrillo is well-brought - up painter, true high-ranking representative of this many-coloured and curious world. For him the art is search, search at the pure state, sometimes for itself, continuous, incessant experimentation. It is active taking part to the reality that winds him, sometimes bringing him far away. (...)

 

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