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As everybody knows, even the less artistic-inclined who only sporadically ambles around the world of Turin art, Cesare Bruno is the painter of chairs. His are the chairs of all Piedmontese churches, Romanesque, Gothic, Renaissance, Baroque and Neoclassic, either straw or carved out of wood, natural, lacquered or varnished.
Chairs, his own anthropomorphic, and if nothing else monkeys and human substitutes caught in those collective manoeuvres mankind loves performing since immemorable time : war and demonstrations.
(Maurizio Corgnati, Cesare Bruno “For a tournament”, La Maggiolina, Alessandria, 13-28 ’ November 1982)
The Chair. Destroyed, vanished. Almost turned into a ghost, or, even better, a stimulant, a painting object. Even more so, this painting object, right at this stage of Cesare Bruno’s oeuvre, undergoes another transformation featuring a peculiar “wooden” flavour, therefore naturalistic. The chair slowly turns into a mulberry-tree (those old-fashioned Grandma ’s kitchen chairs, low on the ground and provided with straw-seats cut by the axe of our carpenters from the lowlands, were also made of mulberry-wood). Mulberry—trees in long rows, either parallel or crossing each other, the trees variously grouped together or proudlystanding alone. They rise on ever—stretching plains marked by parallel cracks of the soil, the horizon low in the distance.
(Maurizio Corgnati, Cesare Bruno “For a tournament”, La Maggiolina, Alessandria, 13-28 ’ November 1982)
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