1.0Polo Culturale Pietro Aldihttp://www.poloaldi.it/en/Maria Cristinahttp://www.poloaldi.it/en/author/biblioteca/rich600338<blockquote class="wp-embedded-content" data-secret="NAWIjqyxHv"><a href="http://www.poloaldi.it/en/artwork/panorama-b/">Panorama B</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="http://www.poloaldi.it/en/artwork/panorama-b/embed/#?secret=NAWIjqyxHv" width="600" height="338" title="“Panorama B” — Polo Culturale Pietro Aldi" data-secret="NAWIjqyxHv" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); /* ]]> */ </script> https://www.poloaldi.it/wp-content/uploads/2021/06/43_Carlo_Bertocci_Panorama_B-1024x753.png1024753The two studies for Observatory (no. 41) present the artist’s long, pondered process of working out his paintings. He begins by drawing precise, carefully observed sketches from life which he then elaborates conceptually in accordance with his poetics of enigma and the play of opposites, so as to reproduce in the painted image the suspended silence and enveloping mystery of every revelation.