Twentyfifth episode of the program “Pralines. Deliciousness from the world of art” by Ly thi Thanh Thao and Sergio Mandelli dedicated to Emilio Tadini.
Emilio Tadini is born in Milan in 1927. Initially it seems as if Tadini wanted to give himself totally to literature. In fact his short poem “La passione secondo San Matteo” wins an important prize and a writing of his entitled “Paesaggio con figure” is published in the anthology of Gruppo ‘63.
In addition, his novel titled “Le armi, l’amore” achieves commercial success.
But afterwards it’s the acquaintance with the intellectuals of the Academy of Fine Arts of Brera that sparks in him the passion for painting that, from the mid-60s, takes centre stage in his career.
As artist and militant critic, Tadini opposes the two then leading movements of the art scene, namely Art Informel, that utterly rejects the application of reason in art to favor sheer sentimentalism, and Socialist Realism, that focuses on subjects of political and social concerns.
In Tadini’s work prevails a series of research interests drawn from Cubism, and from Surrealism, which are viewed as attempts to create a new vision of reality based on presupposed rational thoughts. In particular, Surrealism is regarded as the representation of the unconscious mind through the in-depth study of Freud’s psychoanalysis.
As a result, some of his early works embrace a kind of surrealism dominated by Klee’s art, other works bear Bosch’s imprints as the one titled “Saggio sul Nazismo” with some elements taken from Picasso’s Civil War etchings.
The turning point of his career happens when he discovers the British Pop Art, which spurs him to realize art pieces which can be looked upon as parts of a tale.
In fact, from the “Vita di Voltaire” series onwards, his production is grouped in diverse series.
The viewer finds himself in front of a so-called “puzzle”: he is invited to take part in a game, whose aim is to search for the origin of its meaning.
Naturally, the viewer is not expected to give a definitive answer; but rather, to demonstrate his complicity.
He is invited to the 1978 and 1982 editions of Venice Biennale, which proves to be the coronation of an artist that, at a certain point, knows how to steer his path towards another direction.
After nearly two decades over which paintings are executed “cerebrally”, Tadini feels the necessity to emphasize on the pictorial aspect, which means, he decides to give due importance to colors.
In the “Interno” of 1984, the energy emanated from the scarlet red of the table cloth is analogous to that of the “Derobing of Christ” by El Greco.
Together with Boccioni’s “The City rises” and Sironi’s urban landscapes, Tadini completes the trio of painters of Milan that deal with the theme on city.
The “Oltremare” series took inspiration from the preceding series named “Profugo”, “Refugee”, then proceeds with another series dedicated to fables.
The fable series, a concentration of cruelty and of beauty, gives a final note to Tadini’s activity. The prominent artist seems to convey to us the idea that in the end, life is such a beautiful tale that it is always worth narrating.