Here are the colours of Aligi Sassu

The first thing you notice is the heat trapped in each canvas. It only takes one quick look to warn him. But perhaps the intent was just that: Sassu loved transmit warmth with color. In eighty works in his signature exhibited at Villa Fiorentino, Italy on the course in Sorrento (free admission, info 081 878 2284), the famous Milanese master died in 2000 tells the sound of red and yellow brushstrokes his beloved Sardinia, the Sicilian landscape, or the sea in Majorca. In a word, the "Mediterranean", in which the exhibition, organized by the Foundation Sorrento, is dedicated. Two color schemes edited by Marisa Zattini, among the highest experienced Italian Sassu, a path that winds through paintings, ceramics and bronzes fashioned between 1930 and 1997, from private collections and from the Archives Sassu, run by the son of ' artist, Carlos Julio. The rooms on the ground floor house in particular studies related to the greek myth of subjects in watercolors or charcoal, which preceded the work of the most famous of his works, the huge ceramic panel (over 150 square meters) for the facade of the European Parliament in Brussels in 1983. Also interesting is the bronze sculpture in the center aisle of a very thin "Horse leaf", sinuous and dynamic, as the transmitted energy in each creation. It is not a coincidence, that often the horses, much loved by Sassu subject since his trip to Paris in early 1934, mutate in so-called "Gidget" marine, portraits and exhibited in display cases side. From blue to red and yellow: the upper rooms are totally contaminated. It stands out among all of a painting belonging to the cycle of "Red Men", with three dice players, whose title recalls the story of Mallarmé, "Un Coup de des jamais n'abolira the hazard", ie "A roll of the dice not abolish never the case. " A couple of steps and the scenery becomes more urban, with echoes of bourgeois Futurism, including a cross-section of the "Coffee sublime", or a stroll through the flowers "Via Manzoni." Change of register in the hallway next door, tinted by the many sketches of sets and costumes for "The Sicilian Vespers", directed by Maria Callas on stage in 1972 at the Teatro Regio in Turin. The most demanding, will finally sit down in the last room on the second floor, to watch video projections on the history of the working panel of the European Parliament.