Aldo Rontini ceramics Italian Ceramic Masters Aldo Rontini
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ALDO RONTINI

Address: Via Montini, 16 48018 Faenza (RA)
Telephone: +39 0546 664609
E-mail: aldorontini@interfree.it
Website: none

History
Aldo Rontini is an artist quite aware of being non-contemporary. From the very outset of his studies at the Institute of Ceramic Arts in Faenza, he exhibited a preference for and a focus on masters who – at the time - had been almost forgotten by superficial critics who connived with the gauche expressions of a ceramic and artistic modernity now more and more perceived as highly trivial. Devoid of excessive consensus and manifest incomprehension, his ideal references tended toward the great Italian sculptors of the 20th century, particularly the period between the two World Wars: Domenico Rambelli, Arturo Martini and Angelo Biancini first and foremost, followed by Baroque and Renaissance sculpture, with brief excursions into Classical art as well. Gifted with a rare sculptural talent, Rontini has always maintained a connection with the great Italian tradition in the art. His contemporary influences are limited to the modernization of iconographic elements and never infringe upon the ancient ideals of perfection and of form. A form and its interpretation in a figurative, narrative and evocative sense, nonetheless, that today can only be represented as fragments, details and innuendos, since they lack the ideal support of and the cultural and creative relationship with an otherwise oriented society. His poetic illusion has, nonetheless, solid and age-old foundations. Using the humblest and noblest of expressive materials – terracotta - Rontini has followed a solitary course through the obstacles of the present, while expertly guiding his works of sculpture to the heart of the broader and grander artistic ideas of the past. Thus, he has contributed to elevating to the dignified level of art and sentiment even those creations relegated to the field of the "lesser arts": devotional, decorative, popular or marginal as they may be or may appear to be, even today. His enlarged, pierced ex-voto hearts, his deformed and truncated male nudes, and his torsos whose fluid Baroque movements are reddened by the color of substances inflamed by a scorching summer sunset or fire, all bear the signs of a tension and fever that are almost Mannerist in style. That melancholy implied by Classical art ever since the times of Praxiteles’ Hermes, marked by a longing for a legendary golden age or Arcadia in the Classical era, is modernly manifested in Routine’s works. This same “fever” also afflicted Pontormo, Rosso Fiorentino and, more recently, Scipione and Leoncillo.

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