Anchise PICCHI Crespina, Pisa, 1 Aprile 1911   For a better view, set up screen resolution at
  Painter, sculptor, engraver Collesalvetti, Livorno, 11 Novembre 2007 ital.gif 1280x1024 pixel




The farmers : Oil on wood, cm 40x60, 1972/1974 ( Private Coll.)

In all the paintings by this artist the landscape is rarely represented as merely descriptive matter, conversely it's always functional to the figures that are working: peasantry, workers, men bringing water. These are all figures of our memory, in a place and a time almost spent, that the author really had known and loved and wherein he was directly and emotionally involved. The author, now, revives for us a part of this world that was never easy, marked often by pains, always by labor. The representation of these farmers, in the light and reflections of the Tuscan land, so loved by the author, is a tender and intense poetical moment, in the consciousness and melancholy of an environment now totally lost.



Old man with water : Oil on wood, cm 35x50, 1972/1974 (Coll. privata)

This painting shows a figure which usually could have been viewed in the Tuscan villages many years ago: water wasn't easily accessible and it was often necessary to transport it over long distances, from the source to the fields or to the vegetable gardens. Here an old man (a person who really lived in Parrana San Martino – Collesalvetti, Livorno ) is caught in the moment when he carries water with the “bilancino”, a sort of pole leaned on shoulders, with two full buckets of water, balancing it to make the transport easier. Today water is spoiled in great quantity, even if it's more precious than gold… Nevertheless, it's necessary to our existence. In many countries, people risk their lives to get only one liter of it…





(Left) The locket , black pencil portait on canvas, cm 50x40, 1964 - This portrait, suggested by a very old daguerreotype, in ruins wasted and where only a little tress and an eye could be seen, shows what's the author's feminine ideal of beauty. He was inspired by these few signs, so he gave a face and a life to the traces of that image, by taking his own sensibility and expressive strength. Thus, an enigmatic sweetness is born . The author then dressed the lady in nineteenth-century style clothing and she communicates with the captivating melancholy of her eyes, her unknown and secret personality.



(Center) Two vintager Putti - bronzed chalk basrelief, cm 60x80, 2002. Putti's theme often occurs among Anchise's sculptures . See "The musician Putti" and "The vintager Putti" in the Sculpture section of this site.



(Right) Rain at sunset, oil on wood, cm 35x50, 1980 - In this very bright rainy scene the wayfarers are going towards a background of cloudy deepness which contrasts and hightens the umbrella's colours and landscape's liquid reflections. The smoky horizon's feature is a manner to conceive the pictorial environment that the artist himself explains with the words below:


"Over the indefinite horizons there is an endlessness, the land of mystery and silence, where dreams live. There's something that overcomes idea and the form, something that ourselves, unconsciously, keep in the unknown land of our minds: Poetry."


"Over the indefinite horizons there is an endlessness, the land of mystery and silence, where dreams live. There something that overcomes the idea and the form survives, something that ourselves, unconsciously, keep in the unknown land of our minds: the Poetry." (Anchise Picchi)




A. Picchi - The naked Cross, acrylic and black pen on wood, 2001





Il medaglione
Due Putti

"Many years ago, when I was a little boy of about five or six years old, I often went, early in the morning, along the pathways of the Capanne farm, in the land of Crespina, where I lived with all my family. I loved to draw on the sand, smoothed by the dew or by a weak nocturnal drizzle... I was very young, then: I was a child and, like all the children, I lived dreaming. With the ingenuous feelings of children I sensed the serene beauty of my country: the singing of the birds, spring's mutable sky, the changing colors of the vineyards and of olive trees, the far voices, in the wake of a nature that I knew as friendly... So I always impressed into my mind and heart the sounds, the perfumes, the visions of that atmosphere where I was born and felt I belonged. One morning I promised myself to look at something that I would never have forgotten. Something beautiful, special and strange, something able to speak to me, for the rest of life, the sentiment of that moment and of the spirit of that place, at this moment, I lived. I was attracted by a wisp of grass along the brink of the path...The nocturnal humors had loaded on it a few sparkling dribbles dew in the early sunshine, like trembling diamonds in the slight morning breeze. I watched them, fascinated, and I promised to myself I'd never forget... From the long shadows of the evening I still see them, living and bright, to light my way. (Anchise Picchi)

Considerations about the art of Anchise Picchi

In these simple words, in this ingenuous, primitive and pure feeling, lies the conception and the spirit of the art of Anchise. If it is truthful that “everybody” is what he has been, if in us it's the past that leads, conditions and regulates the actions of present life, therefore forming our minds and arranging genuine and deep feelings, then those particular moments of the artist-child, that lyricism of things and landscape, that animism of a poet-child, couldn't haven't had body and value of “art”, in all the later time of his life. And when he looked at the hard work and intense pain of the figures of his peasants and labourers, both neglected and weak, when he desired to describe the labor and the rhythms of his land, he did it with original and intense feeling, with the same primitive and natural synthesis and surveying ability. There's, in fact, in his pictures and in his people, that sincere, spontaneous and deep feeling: of the time and of the place. This perceives life in a Franciscan way, nearly mystical, where the hard work and the pain never assumes the rawness or the obscenity of tragedy, but always proposed through the filter of poetry which frees them from historical contingency and from descriptive peculiarity, which could limit value and meaning, sharing them, instead, through an intact anonymity that projects and extends them on the stage of world's life. There's not only history in the paintings of this artist, but essentially ideality, emotion, participation, dream and invention; all these sensations are proposed in a trasfigured manner by art and, so, even the oldest, pregnant, humanity's ties that moves with a vigilant humbleness along the hard and unknown paths of the existence, become truer. The atmosphere breathes with the protagonists, suffers with them, lives with them, personifying even the animals which in the representation of life are a fundamental and constant part. Nevertheless, the identity of those people builds a real feeling within us; so, their minds speaks to us, their pains are even ours. We recognize them, and, with them, we recognize our own distresses, our fathers and, eventually, ourselves. The agreste world inspired great part of Anchise's work, as it was nearly a sacred place for his soul. Anchise was born in this world, a world he will taste the savour forever. But that world and its vicissitudes, the figures that operate and move, there immediately become the archetype of a greater history; a history that again finds, in the sharing of pain and the difficulty of the life of all his actors, the universal characteristic that transforms tem all, putting them into a new life and projecting them beyond the limits of space and time, further than their functional and historical characteristics, in the flow of time that now belongs to us. And this is the mystery of art: to be able to speak the eternal language of the spirit, overtaking rationality, orders, preconceptions, contemporary features and classifications, in order to touch, further real possibilities, the more sensitive recesses of humanity, where also cultural conditioning, even the most rigid followed or imposed with his relative characteristic of space and of time, can't rarely and completely shut off the tenuous flares of a common feeling. So the memories, now extracted and separated from their history and newly elaborated and mediated by the strength of fantasy and by the colour of dreams, can acquire a new life, entirely awaking and transmitting all their oldest echoes and freshest emotions. (Lido Pacciardi)







Temporale d'autunno

"Autumnal storm", mixed technique on wood, cm 35x50, 1970/1971

Piatto di Natale

"Scene for a Christmas' plate", mixed technique on cardboard, diam. cm. 25, 1985/1988

Alla fonda

"Sailers", oil on canvas, cm 30x40, 1989



Pioggia di sera