Carlo Perna, painter

Carlo Perna, painter


"(...) Light, space and infinity are the constant presences that I have in me and that I find in the vision of all the things that surround me; my intent is precisely to express these presences through figurative-symbolic expressions. (. ..) "(C. Perna).

Carlo Perna, born in Civitanova Marche in 1931, trained as a young man at the school of the fresco painter Maestro Ugo Scaramucci from Foligno.

He graduated in Architecture at the "La Sapienza" University of Rome, alternating these studies with the postgraduate courses of the Academy of Fine Arts in Rome and following the lessons of the engraver Bianchi Barriviera.

His activity as a painter and engraver has undergone a certain evolution over time that can be distinguished in several periods or moments.

The first, that is, until the 1970s, is characterized by naturalistic works, symbols built with robust charcoal signs and a few hints of color, from which a personal symbolism emerges.

In the second period, from 1970 to 1976, we find a sequence of works on canvas and on mixed media paper which take on particular expressive and essential values. In them, the modulated sign becomes the bearer of the idea and inner dynamism, revealing its own "musicalism", especially in the series inspired by"Lover's tears on the tomb of the beloved "from the sixth book of madrigals by Claudio Monteverdi.

In the course of his activity, parallel to the works cited, there are a long series of portraits from which the personality and psychology of the subjects treated emerge.

Carlo Perna has participated in national and international exhibitions. His works are in public and private collections, as well as being reproduced in specialized magazines.

Carlo Perna lives and works in Rome, Via Taurasia 9 - Tel. 06-77207084 - Cell. 0338-2084815

Painter Rosalba Mangione

Rosalba Mangione - Agrigento

He lives and works in the Agrigento area

Personal card of the artist

Rosalba Mangione was born in Agrigento and in her hometown she made her debut and began her artistic career at the "workshop" of Maestro Egidio Cotroneo of which she became a well-liked and favorite pupil. He then proceeds to perfect himself in Umbria, where, under the careful guidance of Master Fausto Minestrini, he acquires new techniques of pictorial manipulation. These first canvases are already requested and exhibited in national and international exhibitions. The interests around the artist from Agrigento and the originality of works that stand out in the panorama of Sicilian painting, fundamentally dedicated to figurative representation, soon pushed the artist to exhibit his first works on canvas abroad, immediately arousing in critics and in the public, interest and participation. From Spain to New York and from Paris to China is a continuous succession of successes and attention from critics and the public. The exciting triumphs push the artist to try his hand at the designer and furnishing challenge. This is how the first partnerships with wineries were born to produce art labels. Present with furnishing furniture (chairs and headboards reworked in customized colors) at the 2012 Milan Furniture Fair, from there she starts a journey that will soon lead her to Beijing and from China to Malaysia, where three of her maxi canvases become an element furniture of the prestigious and most important Malaysian restaurant Marini's on 57 in Kuala Lumpur.

He exhibited his works at the prestigious Mazzoleni Art Gallery at the 2017 Venice Film Festival. Two philosophical-religious canvases have been exhibited since April 2018 at the Polo Museale of Palazzo Riso Belmonte - BIAS "The Biennal International Contemporary Sacred Art" - in Palermo.

She has participated in various exhibitions including "Woman art" sponsored by the Sicilian Region and "Presences of art in Sicily". Rosalba Mangione, had masters such as Cotroneo and Minestrini.

He has participated in various exhibitions, both national and international.

The foundation


The Carlo Mattioli Foundation was established in 2018 with the aim of promoting the work of Maestro Carlo Mattioli. The Foundation will pursue its purpose

  • promoting research on Maestro Carlo Mattioli, on his work and on the historical and cultural context in which he lived and worked
  • spreading and perpetuating the knowledge of the Master and his work through the organization of exhibitions, seminars, conferences etc.
  • planning and instructing the archiving of his works
  • promoting the publication of works in the form of monographs
  • issuing to those who request it, the certification of inclusion in the official Archive edited by it of the works already authenticated or present in the General Catalog
  • carrying out scientific consultancy activities in relation to the works of the master or attributed to the Master
  • creating and managing museum or exhibition facilities intended for public use and aimed at exhibiting and enhancing the work of the Master in every form
  • carrying out cataloging and archiving of volumes relating to the artistic experience of Carlo Mattioli
  • promoting editorial activities and publications also in digital form etc.


Collectors, Foundations, public and private bodies are informed that the archiving of the works of Maestro Carlo Mattioli continues at the Carlo Mattioli Foundation. The Carlo Mattioli Foundation based in Parma, Borgo Retto 2, continues the archiving activity previously undertaken by the Maestro himself and by the Carlo Mattioli Archive, aimed at publishing the General Catalog. Therefore, to obtain a regular insertion in the Catalog, the owners of the works are invited to fill in the certification forms and to read the new regulation.


Catalog raisonné of publications of the Carlo Mattioli Archive.


The Carlo Mattioli Foundation informs that the Volume Carlo Mattioli The paintingswith USB card containing the general catalog of oil paintings is on sale at the Foundation at a cost of Euro 85.00 + shipping costs.

Download the booking form.

The volume is being prepared Carlo Mattioli works on paper.

Collectors are invited to contact the Foundation

Carlo Ceresa was born in 1609 in San Giovanni Bianco, a town in the Brembana valley. His subjects were mainly of a religious background, being himself pervaded by a great faith. The works emanated considerable expressiveness, so much so that he began to perform numerous portraits with excellent results

Little Carlo cultivated from childhood a great passion for painting, which, however, was not accompanied by specific studies. In a period in which academies flourished and the boys more inclined to the fine arts did apprenticeships in the workshops of renowned artists, Ceresa had to gain experience in a self-taught way, precisely because of the unhappy family economic condition.

Towards the age of twenty he began to carry out the first frescoes in the churches of the neighboring countries, receiving considerable approval from the various clients. Only then did he begin to frequent the workshop of Daniele Crespi, an eleven-year-old Milanese painter, in order to learn the techniques of the profession and hone his skills.

The death of his master, which occurred in 1630 due to the Manzoni plague, brought him back to his valley, where he began to paint again in local churches and sanctuaries.

Son of Ambrogio and Caterina Carrara, he had a difficult childhood, lived in conditions of extreme poverty. The father, a native of Cortenova, came from nearby Valsassina in search of a better life

In those years he fell in love and married Caterina Zignoni, who belonged to a wealthy family in the area. They went to live in the hamlet Grabbia, in a house owned by the bride's father, in close contact with her family. This situation radically changed the life of Ceresa who, thanks to the emotional and financial security acquired, he concentrated more and more on his activity which was positively affected.

From that union he had eleven children: of these, Giuseppe and Antonio followed in their father's footsteps by venturing into painting, two others, Giovanni Battista and Francesco, embarked on an ecclesiastical career, while Sebastiano became a notary. Francesca died at 27, while the other five did not exceed the childhood age. These griefs greatly affected the artist who, in numerous paintings, loved to personify his lost children in the little angels he painted. A similar situation often occurred in the representation of the Madonna, often painted with the face of his wife Catherine.

A simple man, he always kept the deadlines set and his word, and never started a new job, whatever it was, without having completed the previous one.

The large amount of work led Ceresa to move to the city of Bergamo, precisely to the parish of Sant'Alessandro della Croce.

It was here that he died in early 1679, leaving a large inheritance to his children and his wife, who died a few months later.

Generally we tend to define his style as “Venetian style”, as he often used very strong colors, combined with each other in a simple way. All this to make the work "closer" to the faithful, the real user of his paintings, who generally possessed a very approximate artistic culture. And it was this very simple religiosity of his, also experienced in the first person and transferred to paintings, that made him little loved by the city's high ecclesiastical institutions, which had always been unwilling to have such "informal" works performed, which commissioned very little work.

Most of his works with a sacred background are therefore found in small churches in the Bergamo valleys, where, however, they have not always been preserved in the best way: often the paintings themselves were done on a budget, where the patrons recommended not to spend too much on the raw materials such as colors, canvases and frames. Add to this the climatic conditions inside the sacred structures which were not exactly optimal, which forced the paintings to suffer the heat during the summer and the frost in the winter. This led to a rapid deterioration of the frescoes, with loss of color and defoliation of the walls on which they were applied. It must also be added that the restorations to these works have often been deleterious, with often inappropriate tampering.

Among his works, estimated at 350, were often mistakenly included those performed by his sons Giuseppe and Antonio. The two sons tried to follow in their father's footsteps, imitating his style and artistic peculiarities. Only later did Antonio, considered the more gifted of the two, begin to perfect himself to the point of distinguishing himself from his father. There was not one, however Ceresian school because Antonio died very young, only 20 years old and only six months after his father, while Giuseppe followed his fate a few years later.

However, we must not forget the portraitist side of Carlo Ceresa. In fact, there were numerous works commissioned to him, especially by exponents of the local nobility, which made the painter's fame increase dramatically.

In this sense, the testimony of Giacomo Carrara, founder of the homonymous academy, is perfect, underlining the perfection of a portrait so much that it could be mistaken for the person in reality.

Also Father Donato Calvi, in his work called Ephemerides, quotes

«Carlo Ceresa highly praised in his portraits. "

As previously mentioned, most of Ceresa's works are concentrated in small churches in the Bergamo area. The first work attributed to him is the Addolorata placed in the church of Fuipiano, a hamlet of his native town. The painting, executed at the age of nineteen, already highlights the "provincial" characteristics that will distinguish it over time.

From those years, during his Milanese period in which he joined Daniele Crispi, secondary works are attributed to him in the Certosa di Pavia and in that of Garegnano in Milan, where he participated in some construction sites directed by his master.

In 1630, following the plague epidemic, the commissions increased thanks to the popular will to thank the patron saints for the removal of the destructive disease. The first altarpieces that Ceresa executed were for the parish church of San Giovanni Bianco, in which the saints Rocco and Sebastiano, protectors from epidemics, stand out, with San Bernardino with Sant'Antonio da Padova and in the church of Sant'Antonio.

The first portraits are instead dated 1633, the year in which he made the Younger with hat in hand in the Castello Sforzesco in Milan, and the Young Bonometti, now kept at the Carrara Academy of Bergamo. To these were added many others in the following years, among which the author alternated political figures, including Bernardo Gritti, whose portrait painted in 1646 is still exhibited at the Rijksmuseum in Amsterdam, the chancellor Ghirardelli (1640) and the praetor Angelo Finardi elements belonging to prominent families, including the Pesenti and Suardo religious men, such as the canon Alessandro Vertova, the bishop Gregorio Barbarigo and San Gerolamo Emiliani and relatives, among which the one to Laura Zignoni Boselli (1640) stands out.

His paintings in the sacred field after 1640 differ from the previous ones thanks to a greater brightness, with more vivid colors: in this regard the best example is the Crucifixion with the Magdalene and two Disciplines di Mapello, executed in 1641. In others it is possible to note the proximity to works performed by Crispi, his mentor. Among these, of relevance is the Pity placed in the Church of San Marco of his country of birth.

Very particular is the painting of San Vincenzo (executed in 1645) which, placed in the Cathedral of Bergamo, positions the Saint on a blanket of clouds, under which the Orobic city is perfectly represented.

There are many other works that can be found in numerous churches in the Bergamo area: among these Nese (Alzano Lombardo), Leffe, Nembro, Sombreno (Paladina), Ponteranica, Villa d'Ogna, Terno d'Isola, Madone, and Vercurago. The bulk of his artistic production is, however, concentrated in his Brembana valley, with works located from Mezzoldo to Valnegra, with its epicenter in his village and its hamlets.

From 1938 to 1946 he entered into partnership with the metal sculptor, Romolo Vetere (Naples, 1912-1988), giving life to the manufacture The Due Fornaciari based in the Vomero district of Naples, a small artisan shop that had the purpose of re-evaluating everyday objects. In 1942 the two won first prize at the IV National Competition of Ceramics in Faenza [2], with the polychrome majolica panel Maternity and Childhood, designed by Giuseppe Mazzullo [3], now kept at the International Museum of Ceramics in Faenza. After the collaboration with Vetere, he founded theMacedonio Ceramics Company, specialized in panels for architecture, urban planning and furniture. Among the customers Gino Avena, Carlo Migliardi, Vincenzo Perna, Raffaello Salvatori, Luigi Mustica and above all Carlo Cocchia.

In 1950, on the occasion of the Neapolitan Artistic Handicraft Exhibition, held at the Palazzo della Borsa in Naples, Peppe Macedonio won the first prize with the panel Give to Caesar what is Caesar's / The payment of the Tribute. The work was then purchased by the Brooklyn Museum in New York to represent Italian production [4], now in the European art section [5]. Since then he has been invited several times to participate in the exhibitions of the artisan production of the sector, in London, Brussels, Rome and at the Triennale di Milano in 1951, obtaining favorable reviews from Gio Ponti in the magazine Domus [6] .

Giuseppe Macedonio's most important work was the polychrome majolica decoration of the Esedra Fountain at the Mostra d'Oltremare in Naples. The fountain is an example of green architecture [7], designed in 1938 by Carlo Cocchia and Luigi Piccinato (Legnago 1899-1983) and inaugurated in 1940. The ceramic coating, carried out between 1950 and 1954, occupies an area of ​​1000 square meters and depicts The evolution of man in nature through the primitive activities of pastoralism, hunting and agriculture [8] .

From the 1960s onwards, Macedonio approached the historical avant-gardes, creating panels and artifacts influenced by informal art and art brut, to which he added an original experimentation in the field of ceramics, porcelain and enamels [9]. Among the works, the liturgical furnishings of the New Parish Church of Casal Velino Marina (SA), the decorations of the Cinema Teatro Italia in the Skyscraper of Gallipoli (LE) and the winning sculptures at the National Ceramic Competition Donato Massa promoted by the Municipality of Pietrastornina (AV) [10].

In a 1978 interview he stated: "I looked at ceramics as a fact of ancient painting, so that the plastic support was a means on which to place the painting. And I looked at painting as they did in the Renaissance, as an element of color in the house of man, necessary for the imagination of man. Man does not need, as Le Corbusier says, many cubic meters of space, or many square meters, according to a strictly mathematical criterion as well as the material elements that are indispensable, he needs expression, imagination, d ' imagination, which must be cultivated through the sign: just as we have a sign that indicates the word, in the same way we have signs that indicate feelings, that is painting, sculpture. I have always adhered to this principle, and I have always turned to others, placing my works everywhere, even at a ridiculous price, in order to reach people, to bring my contribution to 'say about feelings'» [11] .

Below is a partial list of the hundreds of works by the master Giuseppe Macedonio:


Marco Perna is a poet, painter, artist at 360 degrees. There are many awards obtained during his artistic career, including the 8th Class. National Poetry Award 'Letteralmonte 2017', the Diploma of Honor with Commendation Mention 'Michelangelo Buonarroti International Poetry Award 2017', the Prize for figurative painting at the '1er Salon International de toutes les Fantasy Mythic Arts Casablanca 2014', he was invited of honor to the International Festival des Arts plastiques et de la Littérature 'Les Mille et Une Nuits Casablanca 2016', he is Associate Academic of the International Academy of Empedoclei.

'Alors on danse ....', oil on canvas, 80 × 80 cm, 2016 € 1,600

'Abstract distracted', oil on canvas, 70 × 90 cm, 2016 € 1,500

'Female abstract', oil on canvas, 60 × 40 cm, 2016 € 1,000

'Atmosphère parisienne', oil on canvas, 70 × 100 cm, 2014 € 1,500

'Thus a flower dies', oil on canvas, 70 × 50 cm, 2016

'Dido', oil on canvas, 60 × 60 cm, 2015 € 1,300

'Evolution's engine', oil on canvas, 40 × 50 cm € 800

'Fuite de l’Eden', oil on canvas and wood, 71 × 101 cm, 2012-2018 € 1,500

'Home', oil on canvas, 40 × 50 cm, 2014 € 800

'Contemporary Icon', oil on canvas, 70 × 90 cm, 2016 € 1,700

'The triumph of virtue', oil on canvas, 40 × 60 cm, 2017 € 800

'I'm informal ... and also a little abstract', oil on canvas, 100 × 80 cm, 2016 € 1,500

'Je reste seule', oil on canvas, 60 × 60 cm, 2015 € 1,300

'Water does not fall from the sky', oil on canvas, 100 × 80 cm, 2017

'The rebel angel', oil on canvas, 100 × 100 cm, 2016 € 1,800

'L’angoisse', oil on canvas, 50 × 70 cm, 2016 € 1,100

'L’Art est au tapis', oil on canvas, 70 × 50 cm, 2014 € 1,500

'Les Fleurs du Mal ... et du Bien?', Oil on canvas, 60 × 80 cm, 2013 € 2,000

'Les papillons se cachent ...', oil on canvas, 60 × 60 cm, 2016 € 1,300

'Nobody', oil on canvas cardboard, 70 × 50 cm, 2017 € 1,100

'On est seul dans le brouillard', oil on canvas, 100 × 100 cm, 2015 € 1,500

'On tourne en ronde ... et ça nous plaît!', Oil on canvas, 90 × 70 cm, 2016

'Popabstraitì, oil on canvas, 60 × 90 cm, 2016 € 1,700

'Quel espoir?', Oil on canvas, 90 × 60 cm, 2015 € 1,500

'... S'envole', oil on canvas, 60 × 90 cm, 2014 € 1,600

'Inner serenity', oil on canvas, 50 × 70 cm, 2018 € 1,300

'Shéhérazade', oil on canvas, 60 × 90 cm, 2015 € 1,500

'Suspended by a thread', oil on canvas, 100 × 70 cm, € 1,600

Permanent: Juana Romani exhibition center - Velletri
Palazzo Del Gaudio Campagna - Mendicino
Galleries: Incinque - Rome
Collective: Rome Art Week - Rome 2017
International Biennial of Art of the Mediterranean - Palermo 2017
1st Int. Exp. Of Plastic Arts - Marrakech 2017
VIII Biennial of Contemporary Art - Ferrara 2016
Viterbo Biennial - Viterbo 2016
Les Mille et Une Nuits - Casablanca 2016
Biennale Art Galila - Paris 2015
Face'ARTS - Verona 2015 - Matera et Bologna 2016
United Factories Biennale - Milan 2015
ArtExpo - aDa Arts Gallery - Barcelona 2015
The Unexpected - Ward-Nasse Gallery - NY 2015
Salon Mythic Arts - Casablanca 2014
Cont. Art Biennale of Lecce - 2014, 2015, 2016, 2017
Salon des Artistes Lorrains - Nancy 2013, 2014, 2015
MAGMA Museum - Roccamonfina 2013
Les Hivernales de Paris-Est / Monteuil 2012 and 2013
Spoleto Expò - Spoleto 2013
The Story of the Creative - NY 2013

Le bonheur de créer - Hôtel de Ville - Nancy 2017
My roots, my wings - Monte S. Giov. Campano 2017
Portraits Manqués - Galerie Neuf - Nancy 2016
Portraits d’Artistes - Galerie Neuf - Nancy 2014
La Petite Venise - Nancy 2013

EuroArte: «N ° 23, cover and article» and numerous
dedicated articles in other issues of the magazine
Misirizzi: Ed. Spec. IV B. Viterbo «Marco Perna»
PassaParola Magazine (LU and FR) N ° 10/2017 - interview

Carlo Perna, painter

Lucio Perna arrives in Milan at the end of the 70s, comes into contact with the Milanese artistic world and follows advanced courses on the technique of color.

The meeting with Remo Brindisi, with Ernesto Treccani and Aligi Sassu and with talented young people including Enrico Muscetra is fruitful.

Take part in numerous cultural initiatives.
He helps to re-establish and launch the cultural and artistic association "Proposte d'Arte" in which he actively participates and in which he organizes and holds research and experimentation seminars.

In March 1998 he founded the "SYMBOLICUM" movement with Federico Honegger, Fabio Masimo Ulivieri and with the poet and art critic PEDRO FIORI, theorist of the group.
The manifesto of the movement was officially presented at the exhibition on 20 October of the same year at the Milanese gallery Antonio Battaglia Arte Contemporanea and at the fifth edition of "ARTEFIERA MILANO".

The painting of Perna, in over twenty years of activity, develops in search of a language that starting from a figurality? emblematizing (the cycle of the "Sirens" 1972-80 and that of the "Masks" 1980-88), it reaches the current symbolic research (The Mirages) which began at the end of the 1980s.
With the pi? recent works, (OILS and MIXED TECHNIQUES) synthesizing previous experiences and following a multimedia process, Perna traces a very personal research path that goes beyond the label of abstraction or the informal reference.

In his works we can read a liberating gesture that tears and creates. From time to time he moves like a geologist or a topographer, declining emotions on surfaces through tonal adjustments and modulated perspective shifts.
The conception of space, while not giving up a certain perspective tension, d? pi? the sense of illusion, of the mirage as a simulation of visibility.
Mirage poetically understood and represented as an ironic deception where the relationship is not? pi? between near and far, as in the classical order, but between visible and unknown.

The space of the image expands like a "chromatic magic". The structures are reduced to the essential.
Signs, shapes, colors blend in his iconology in "silent messages of words never spoken": a language-style made of silences.
The sensitized space in the work tends to emerge from the limited traitional surface towards new, different, "virtual" spatial dimensions.

This is an expressive research that brings Perna closer to the artistic-cultural movement "EMOTIONAL GEOGRAPHY", born in the United States America at the beginning of this new century, of which Giuliana BRUNO, professor at Harvard, is a theorist, and which in Italy has been supported and disseminated from the magazine "ARIA".

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