{"id":2084,"date":"2025-04-15T15:20:41","date_gmt":"2025-04-15T13:20:41","guid":{"rendered":"https:\/\/gastonececconello.com\/portrait-of-gastone-cecconello\/"},"modified":"2025-04-15T15:20:43","modified_gmt":"2025-04-15T13:20:43","slug":"portrait-of-gastone-cecconello","status":"publish","type":"post","link":"https:\/\/gastonececconello.com\/en\/portrait-of-gastone-cecconello\/","title":{"rendered":"Portrait of Gastone Cecconello"},"content":{"rendered":"

Kevin Swierkosz-Lenart, a physician, psychiatrist and FMH psychotherapist, head of the Department of Interventional Psychiatry at CHUV (Lausanne), but also a classical guitar composer (former pupil of maestro Angelo Gilardino) draws a portrait in words of Gastone Cecconello.<\/h3>\n<\/div><\/div><\/div><\/div><\/div>
<\/div>

V<\/span>idi the first Cecconello work of my life at age 16. Angelo Gilardino, his lifelong friend and my Maestro, had mailed me a copy of the celebratory volume he had received as a gift from friends on the occasion of his 60th birthday, a beautiful publication entitled “L’anima esacorde.” Among the contributions to the composer’s memory and friendship could not miss that of the painter Cecconello, author of a portrait with a dreamlike character, a pencil I think. But the memory is blurred, I confess, by the past 20 years and the fact that the many removals it has undergone relegate the book to a basement several hundred miles from me today. Gilardino was fond of saying that in his view the visual arts, literature and music were three declinations of an identical afflatus of the human being. Three variations of the same act. And in the simplicity that his culture and wisdom had not shaken, I think he essentially understood the artistic vocation as a matter of decorum, a dignified way of being in the world. In that continuity between thought and life that is characteristic of the greats, Gilardino had frequented, supported, comforted-sometimes taking refuge with their friendship in search of the same attitude-precisely a man of letters, Sergio Givone, and a painter: Gastone Cecconello.<\/p>\n<\/div>

<\/div>

\"\"<\/p>\n<\/div>

<\/div>

The second introduction<\/h3>\n

The second introduction to the latter occurred for me when, starting in 2012, I began regularly attending Maestro Gilardino’s house in Vercelli. His collection included quite a few works by his friend Gastone, alongside other Piedmontese masters. Of the many strands to which Cecconello gave life over the years, the composer’s favorite was undoubtedly landscape painting, pushed to the extreme limits of figurativeness, which nevertheless always lingers in his works, almost as a need for concreteness that is indispensable to deal credibly with more abstract and material works.<\/p>\n

I remember in particular a large painting, I would say almost a meter by a meter, in shades of crimson, which stood out in Gilardino’s bedroom and which I always glimpsed from the dimness of the hallway as I entered the house. I always saw that painting that way: an explosion of light and energy impatient with the melancholy Piedmontese gloom. And that, after all, is Gastone Cecconello.<\/p>\n

After perceiving him in that canvas, I began to infer him from my first contact with his physiognomy, in the photograph of him as a young man next to his musician friend. Shy and elusive the latter, angelic in name and manner, energetic and proud the painter: the raven eyes, devoid of all false modesty, of any fear in addressing the world, the eyebrow barely raised, the hands in the pockets and the legs crossed, as if everything expresses at once self-confidence and tension, readiness, that scornfulness of a true Italian artist that Castiglione describes in an incomparable way in his Cortigiano:<\/p>\n

\n

Flee as much as one can, and as a very rough and dangerous cliff, affectation; and, to say perhaps a new word, use in everything a certain sprezzatura, that hides the art and shows what is done and said to be done without effort and almost without thought<\/p>\n<\/blockquote>\n<\/div>

<\/div>

The meeting<\/h3>\n

I finally met him, we visited him for the first time in 2017 I think, together with Angelo and his son Alessandro, a painter as well, as well as Gastone’s own student. The first, inescapable feeling in crossing the threshold of Cecconello’s studio in his villa in Salussola is vertigo. Bewilderment in the face of the endless amount of works produced over the years, using all sorts of techniques, exploring languages ranging from figurative painting to sculpture, passing through every kind of experimentation imaginable. A quantity of works that above all tells of an obsessive need to work, to anchor the disruptive energy told by the gaze to a very small perimeter, a few meters, submitting life to form, as every artist does.<\/p>\n

With the generosity that is his own but which, like all genuine generosity, does not allow itself to be caged in theory and expectation, Gastone decided that day to give me one of his works as a gift, precisely because he felt that I sincerely would never have dared to imagine it. He invited me to get lost in that labyrinth, exploring, removing the dust that inevitably accumulates between those leaning frames and requiring him to be very strictly protected with films and meticulously archiving those thousands of works.<\/p>\n

\n

“Organize a small solo exhibition, bring the works here to the center, and then choose one.”<\/p>\n<\/blockquote>\n<\/div><\/div><\/div><\/div><\/div>

I did so, ranging in the various genres I was encountering. I finally retained a painting that is now in my living room: a polymateric work dominated by the red palette, within which a small human dowel, a motif typical of Cecconello’s imaginative world, stands out as an element of magnetic fascination. Almost like Giuseppe Capogrossi’s trademark-signature, the human dowel represents a constant in Gastone’s works, a theme to which he returns with a hammering manner, almost as if to get rid of it, exorcising it. It is a bust with a face devoid of connotation, similar to a De Chirico mannequin. In it is condensed the horror of the dehumanization of man, of his becoming an anonymous element of a mass, subjected to constraints that castrate his imagination, homogenized in a single thought that makes it impossible for him to be realized as a unique and unrepeatable existential experience.<\/p>\n<\/div><\/div><\/div>

<\/span><\/div><\/div><\/div><\/div><\/div>

The counterpart of this anonymous man is, in Cecconello’s tales, the legendary Uncle Badger, a Piave’s caiman endowed with superhuman strength, to whom the carabinieri allegedly issued a certificate in the early 1900s in which he was manifestly banned from using his fist in fights, considered a lethal weapon. Virile, but ready to go with a paying man to benefit from a small sum, only to knock him down in the face of reluctance to pay what was agreed upon. Finally demented, intent on making improbable wooden canes in which crude contraptions simulated an erection in the human figures carved into the knobs. Intent on making up to improbable stories with his young grandson, “Gaston! I was selling sticks at the market today, and do you know who came to buy them? Nil Amstro! The one from the moon!”<\/em><\/p>\n<\/div>

<\/div>

The Artist and the miracles of the world<\/h3>\n

The smile aroused by the marvelous pre-industrial humanity that emerges from these anecdotes, the disruptive force of the red that ripped through the dimness of the corridor on Prestinari Street, a never defeated despondency in the face of man reduced to a dowel, all this is saved and protected as in an ark in Cecconello’s work.<\/p>\n

Having completed this duty, with dedication, talent and uncommon competence, the man is left with very little. One empties oneself into art. On the sidelines of the colors of his studio, of the photographic portrait in Gilardino’s living room, Gastone in my mind presents himself mostly intent on walking in his garden, enjoying some fruit, feeding the birds in his aviary. Freed from duty, the artist is perhaps among the few who can still embrace the miracles of the world.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"

Portrait in words edited by Kevin Swierkosz-Lenart<\/p>\n","protected":false},"author":7,"featured_media":2095,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-2084","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"yoast_head":"\nPortrait of Gastone Cecconello<\/title>\n<meta name=\"description\" content=\"Kevin Swierkosz-Lenart, a physician, psychiatrist and psychotherapist, composer, and student of Angelo Gilardino, draws a portrait in words of Gastone Cecconello.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/gastonececconello.com\/en\/portrait-of-gastone-cecconello\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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