Anchise PICCHI



"Michelangelo in all the compositions of his figures raises that incomparable grandiosity and that well known mouvement that are the characteristics of his Art. He makes some parts longer, others shorter (e.g. the limbs) , in some points he makes the parts larger and in others smaller than the natural. He then gives to the entire figure and to the details (muscles, hairs, fingers) the maximum possible mouvement, with harmony and rhythm. With these strong contrasts of lights and shadows, of projections and recesses, he obtains the maximum possible relief. All the matter is alive, various, agitated…" (Anchise Picchi)

(Left: A. Picchi – gilded chalk basrelief, from The Adamo by Michelangelo – Sistine Chapel, Vatican, Rome)




Testa di vecchio



Some sculptures by Anchise Picchi

As he declares, Anchise Picchi was initially a sculptor. Though he strongly felt, during his childhood, the appeal of the drawing, there was a first period that saw the sculpture as his dominant activity. They were the years preceding the Second World War and those during the conflict, when the artist was between twenty and thirty five years old. His well equipped study of sculpture in Collesalvetti, set up with labour and in little time, became wasted and completely destroyed by the troop transit: sculptures, furniture, doors and windows... The young artist was very pained and his sorrow was so deep that he stopped his beloved activity and devoted himself entirely to painting which he had never completely abandoned. The artist however carved a last sculpture for Luigi Gioli, with a pocketknife: a beautiful wooden head of an old man. Gioli gave the young artist a valuable painting of his own. Later, immediately after the Leghorn period, Anchise starts his sculpting activity again, using the large rooms in his new house in Collesalvetti. Then numerous sculptures were carried out: in bronze, walnut, ceramics and gilded chalk. Some of these are shown here .




Anchise Picchi: Head of old man, molded clay, for a next bronze fusion.
















Human beings own three ways of investigating Nature, in a tempting to achieve only a spark of truth: Science, Art, “Mystical Perception of the Nature”. Science observes, analyzes, deduces, formalizes and constructs theories and algorithms, often transferring them to the technology that is able to adapt the environment to our material needs. Art looks at Nature and, via sentiment and imagination, recreates it, changes it, overcomes it, proposing it anew, merging it into a dimension that goes farther than reality, often farther than reason and plausibility, into the kingdom of metaphysics where ideal models are placed as foundations for the fantastic reconstruction of Nature, so acquiring self-contained life and becoming a fundamental part of Nature herself. Mystical Perception is, among these threeways, the most primitive, typical of saints and ascetics, of authentic artists, of primitives and poets. Mystical Perception makes the Universe seem like a unique consistent organism, totally accessible to our mind. In the intensity of Mystical Perception our mind rises to unknown dimensions, which often bring human beings to reach out of themselves, isolating and cutting bonds with others and putting them in perfect, direct and solitary connection with the most hidden essence of all things and of all the universe. These three possibilities in understanding Nature integrate and mature each other and often interchange and fade into the other. So there's a beauty - not merely formal – of Science, of physics and mathematics, as exists even an Art's science and a matematics of music; and Art itself, as Science, has a mystical feature, and the mystic is often an artist too, because he feels and senses where others remain unconcerned, in the same manner the scientist who suddenly sees a new way that opens the doors of a new theory… Man, in his remaining evolutive process, will succeed to be more human as he will be able, at the same time, to be a scientist, artist and saint; namely as he will be able to receive and awaken unto himself, with harmony and honesty, these three fundamental ways of wisdom, in the attempt to understand the elusive meaning of himself and of the universe. For this to happen , teaching the beauty and respect for life is paramount.



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L'artista al lavoro

Anchise Picchi, in 2002. When he was 91 years old. He is shown modelling the Two clay Putti lunette which are shown in their completed form in the sculpture group on this page.


Ritratto di Pietro Annigoni

A. Picchi - Pietro Annigoni's portrait, walnut basrelief, cm 71x58, 1974



Architrave caninetto parte 1°


A. Picchi - Architrave for a fireplace (first part), walnut basrelief, cm 25x75, 1971/1972


Architrave per caminetto parte 2°


A. Picchi - Architrave for a fireplace (second part), walnut basrelief, cm 25x140, 1971/1972