• Presentation of the exhibition at the gallery Grafica Uno, 1969
  • Evena sculpture of small size, the structure and character, can take on a monumental aspect. It's the case of the sketches of Rosalda, you can imagine in a larger space and in a larger size, without losing the click of a limited, secret spirituality.The forms are increasingly the bare essence of the great archaic architectures, contained in the patterns of linear profiles and plans, never to attack by the pictorial plastic surfaces.Theconception statuary tends to form blocked, to a constructive synthesis, which binds each formal element in function of a structure, usually suggested from granite or marble.Hermethod is defined by Michelangelo And 'the method, slow and impetuous, who knows how to work the marble, releasing a form of splinter splinter from the block that contains it.Rosalda part from an idea summarily sketched, the spread and corrects or even the change, in the course of the work, according to the settings of the matter and the suggestions of the case. The process of reduction of the marble block ends with a sculpture with pure lines, similar to a stele archaic or a Neolithic monument. But Rosalda does not propose any a cultural model of primitive character, to follow a current exploited el taste Front in 1960.The purism plastic, the art of Rosalda, is a completely congenial to its nature and does not depend on assumptions of polemical tendency.Her marbles can live (the verb is more than appropriate) in a present multicolor and agitated, in a stillness, that does not hide at all, under the monochrome surface, the momentum of a vital inspiration solidly connected to nature.The two fragments, written in different years, do not contradict each other.


  • Giuseppe Marchiori, 1969


  • Presentation at the Gallery "La Bertesca" in Genoa, May 1970
  • Modern sculptors have made many trips through time, until the prehistory, to purify, inching closer to the origins, to the sources of nature unsophisticated, when the elementary simplicity of the architecture and objects was the same as the first sculptures. Trips were necessary, they never did find the perfection of Praxiteles and the familiar realism of Roman portraits, which should have brought back the protesters of statuary bourgeois models of the menhirs, the obelisk, column, pillar, the stele, the totem, all preferable, for their geometric shapes, characters on foot and horseback glorified, the "stupid" the nineteenth century, the squares of the whole world. Even Rosalda made his journey to essential facilities, after exhausting a series of experiments, corresponding to the stages of a journey not very adventurous, and this trip has recognized more decisively the space more true, the real domain in which it was projected his fancy plastic.So archaic patterns of monumental sculpture, they found, in the art of Rosalda, marbles, stones, granites from squaring and reduce the net profiles, cutting the space, and volumes, which bring out the strong structures. The problems of the technique of marble have been carried out by Rosalda with virile energy and intelligence, which solves them in naked image of every superfluous adornment. The huge gray blocks of serpentine and granite of Lake Maggiore are chosen by Rosalda materials for his sculptures of construction, from rough plans beaten with bocciarla and smoothed the edges, or often furrowed by parallel grooves, which break up the uniformity and enliven them "Attendance", "The Wall", "The Machine Stone", "inability to fly," are examples of his will of structural, sealing in the rigor of the plans and opposing volumes, already established by Cubism in translation plastic of the essential elements of the analytical painting, and sets for a future in which we have lived and continue to live. The arts subtracted archeology, covered in their most authentic poetic values, were, as has been mentioned, the antidote fantastic, distilled from the "taste of the primitive" against the monumental and cemetery realism, trompe-l'oeil against women nude, in the midst of the fountains of the mouths of dolphins or putti, the characters in full uniform or, Financial examples of civic virtues or military merits, immortalized in bronze and marble. Rosalda, with perfect consistency, raised its "monuments" in parks, open spaces, in close relationship with nature, with green lawns and trees, and in those spaces recreated by their presence, marbles acquired a deep reason to be: a mysterious solemnity, as if they came from a remote time, of which he had lost his memory. It was rather the forms of the present, seeking other illusions, the most rational, but also the closest to us, we honor the irrationality and we aspire to the geometric purity. The contradictions are us, the logic is on the side of Rosalda, who did not like the "taste of the primitive", not even entering into the granite of the "Machine of the stone," the two circles and the two iron discs, symbols, circular saws, which slowly reduce slabs of different thickness large blocks of marble. A tribute to the industrial era, therefore, but with shapes that come from prehistoric or primitive art, and this is the freedom of the artist who can give a rule and can break it soon after. Rosalda has reached the point of overcoming the picture mature and complete, which could well be recognized for their commitment and for the quality, as if to erase its own history or to justify it by looking for those "choses nouvelles," which are beyond all boundaries of course, deceptive mirage or wonderful escapism. And that point is still a rational goal for her, which is changing the ancient stones in a timely message of sculptural objects removable, designed for the various combinations of an ever-changing and fascinating game metaphysical. By analogy, they are reminiscent of the compositions and the prospects forced, with bottles, pyramids, cylinders, spheres, cubes, geometric objects here are in polished marble, black and white, real objects, executed in the right size, and with such accuracy in sharp edges, in the shapes drawn edge of the lead and in the plans of the impacts from reaching the ideal perfection of projects, drawn from Rosalda in a moment of lucidity extraordinary inventiveness. To marble and monumental stones, decorated with a sober design (so sober as to verge on the austerity), which symbolically represent the "presences" ideal in a space of meditation and silence, Rosalda opposed, in a more direct relationship with the spirit of the time, the magic of geometric order, the charm of the metaphysical sculptures that can recompose, from time to time, in different forms and, in any case, absolute. Given the uniqueness to the multiplicity of aspects: the metamorphosis takes place as a game, and is regulated instead by the calculation of the various possible combinations. But each believes to have found its own solution, to have contributed to the construction of a new absolute. Is thus established between the artist and who participates in the game a relationship that takes on a symbolic meaning of understanding aesthetics and human, beyond all convention and for any loss of cultural. You could paraphrase the now famous saying "let me become", stripping the meaning clownish, tinged romantic anarchism, to apply it to this game for adults (or who delude themselves to be such). Play dice of fate geometric, now that Rosalda has found itself in the confidence and the courage to accept a new order, projecting into the present the energetic pulse of past experiences. So, looking at the shapes created in the new structures and new dimensions - cubes, cylinders, spirals-you will be able to recognize the signs of fate, the announcements of poetic adventure, inspired by the reason (because the geometry, as stated Licini The disorder irrational, the monstrous world, the senseless violence of the case are the terrible nightmares that threaten the best of computers created and perfected by nature over thousands of years. But his reactions always lead to an end, very close to what was achieved by Roslada, plotting, in a spiritual condition particularly happy, forms that may become the symbolic images of the desperate struggle of reason with the chaos that threatens to obscure it, the real moments of our history without heroes. "
  • Giuseppe MARCHIORI, 1970"


  • Presentation at the "Galleria del Cavallino" Venice, 1971 
  • The sculptures "monumental" in granite are the most representative works of a long period of research and experience, carried out by Rosalda, prior to the conquest of a constructive order inspired by the quality and technique of marble. The idea has matured and has been embodied in a series of "figures", from clean cuts and smooth surfaces (pyramids, towers, walls, meetings), to dial in an exact game, which I called "metaphysical" in a It is a way of composing according to a rational (well away from the "fun" free of charge, to which everyone can participate), although limited to a few combinations rigorously planned, that does not distort in any case of character and significance of the resulting composition two " figures" autonomous joined together. And no doubt the autonomy of these "figures", which results from a geometric matrix and which are placed in the order of an absolute purism. Each pictorial element has disappeared (and pictorial can be the "ashlar" of certain plans) in a sculpture that tends to dominate the space with their own profiles crisp and precise. The meeting with marble occurred in Querceta, where Rosalda addressed some essential problems, going from the quarries to the ateliers of the Most High Henraux, through a careful study of new forms and the new facilities and the gradual elimination of any residual taste archaic His vision has matured in a few years, assuming aspects of concrete specimen, in a way that you can define measures and constructive harmony, typically modern. Rosalda has solved the problems of style, imposed by overcoming monumental archaism, with a clarity of image, which leaves no room for misunderstandings. His sculptures belong to a conception of form, which differs significantly from the formalisms in every kind and nature, and the noisy and colorful academies of markets and fairs in a fictitious "modernity." The assumption is serious. >As with the black and white marble, polished and pulled-the-art expertise with refined craftsmanship, it is a material even unprecedented, Crystalclear, which accentuated in the cold light reflections on the exact plans sharp edges. The marble so regains the old nobility in the strict formal architectures, which Rosalda has designed for the "Meetings", the "walls", "Spirals", the "Towers", that is, for a series of images of a perfect world envisioned. But the utopia very often coincides with poetry. Then the forms of geometric patterns, placed in nature, have really the singular power to create more clearly the illusion of a possible space in which the "Towers", the "Pyramids", the "walls" have a real reason d ' be, as expressions of our lives of reformers and planners, or even a reality in which the rational order is opposed to the irrational disorder. In the figures in black and white marble of the Apuan Alps, which Rosalda has designed and sculpted in the lonely house among the poplars of Versilia, you can find out even the end of a nightmare ancestral dispelled with his idols, totems and its shows by the appearance of the earliest symbols of the bright future "City of the Sun". 
  • Giuseppe MARCHIORI, 1971 
  • Presentation at the National Exhibition of Contemporary Art " Ascoli Piceno , 1976 ." 
  • Rosalda Gilardi operates with a rigor essential , worthy of ancient civilizations. personal language comes from inner needs and expressive , which develop in our time a vision of structural and architectural poetics critically in a measure distinct from the alleged " operators aesthetic and indifferent . " The plans clear mirror of the volume of its plastic forms that capture the space essentiality are precise and absorbed the conquest of a long process of research and study of the artist. Path that does not lead us back to the root of Russian constructivism , Pevsner a rational of structuralism , but the lesson of "primitive" the essential structures of Mycenae, the Toltec pyramids . In strict in their inner structures and become Rosalda Gilardi 's sculptures are stripped of all ornament to impose in their essential structures . Not only the culture but the intuition of the artist led her to visit and study, even with the risk of his life, the most unexpected places from Columbia to Peru,from San Agustin to Cuzco and Machu Picchu, where you evoke long the Andes historical evidence , thought and art of the fabled civilization of the Incas. In this world Gilardi, with his personal language of modern sculptor, relives the oldest and most rigorous human intuitions of a civilization in the intrinsic strength of its plastic structures , its latest features of modern architecture in that perennial of thought and emotions of 'man who, at the level of poetry and of art, reveals the cosmic matrix of its image. And then of her inner beauty.
  • Arturo Bovi


  • Review the monograph of Joseph Viner. 
  • An example of dedication and set of critical rigor, in Rosalda Gilardi, is clearly offered by the exhibition celebrating the centenary of the birth of Joseph Viner, shows that Gilardi staged in Forte dei Marmi in August 1975. the search and selection of works were laboriosissime; dul Viner's essay, published in the circumstances, is penetrating to the point suggerici a new evaluation of the painter Versilia, a new image of him or, finally, to say the very least, the "truth Joseph Viner had enjoyed a reputation is not great, in the first quarter of this century, and still unequal to its true value. You confused with macchiaioli, who had certainly not cheap, and it played the same way as an academic dilittazione join her Divisionism: adhesion instead held her in an excavation Vinier passionate and tireless in the humus of its climate. The painter died tragically in 1925, since then had fallen on him not just forgetting, but the misunderstanding. Omit Ugo, a year after the death of Viner, noted that in depicting the mountains, the marble, the quarrymen of his land, the author had been on this side of art: "The document itself is stronger emotion and Rosalda Gilardi has dispelled the misconception: Guseppe Viner followed (and largely realized) a '"emotion" his well, which had nothing academic or documentary. He was looking for the essence of man: "In the paintings inspired by the quarries," writes the Gilardi, "we note the constant effort to portray not have the real figures of the miners, but what was typical of the quarryman, ie its own soul. " Viner, when he arrived at the peak of his art bare (which is the case for example in the painting titled The quarry: harmony in color), was now a lonely precursor, which sooner or later would be referred. Here is the Gilardi: "Every concern vedutistica is excluded, and the interest is focused on a core value of the form in a close distance. Even more than is realized in a pictorial fact that results in substantive terms the material value of a rock is not understood in its exaltation of rock, but rather transcended in a vibration coloristic all invented, so every fragment of ravaneto has a value that is integrated into the context. " I am inclined to believe that the "sympathy" of Rosalda Gilardi for the work of Joseph Viner arises from an affinity secret. In large and severe paintings by him, misunderstood by the Arcadian landscape painting and Michelangioli of the province, the Apuan stone has a weight deep and enduring part of a primeval nature or rather of a "creation" elementary in a manner not unlike the sculpture material do you sometimes create a parallel universe to the arcane forms of the mountains. 
  • Carlo Laurenzi


  • Chronicle of a meeting. 
  • The first time you told me about Rosalda Gilardi, sculptor, I probably thought of something else This is probably why my memory remembers only snatches of discourse. Beautiful woman, talented, living Locarno. Undoubtedly, those who spoke at that time were immersed in a speech to a much broader scope, but sometimes we happen to be absent, is not it? Shortly after, I had the opportunity to browse the monograph Rosalda Gilardi. In the beautiful pages dedicated to his work, marched several years of work, intense, precise, research, commitment and a question began to trot around in my head: "I wonder hands with her? ! "Unprofessional question, it is true, but women, it is well known, these strange sights sudden. As soon as I got to meet Ms. Gilardi to put a little 'color', the question began to trot around in my head but without fear, because shortly after I'd had a response. But when you look at it from there, Querceta village grew rapidly, without there is little attention to planning in recent years, it seems far away. In the midst of the campaign portal takes you into the property of Ms. Gilardi. As soon as you walk through the entrance, among the trees, and before you even get to the house almost covered Canadian vine, three metal sculptures stand, lined up one behind the other. Rosalda Gilardi comes our way to greet us. She is dressed in pink: plain pants and blouse with flowers, his neck a jewel carved. She apologizes that almost all of the garden chairs are wet because of the rain that had fallen overnight. The smell of the earth and light of the sun filtered through an indecisive manage to make it even more charming. I wonder if I can walk to look at the sculptures scattered throughout the garden. "I beg you, but you will not find much. The others are still exposed by Farsetti for my "said the lady, smiling, she returned home to answer the phone. The garden is much larger than one would assume given the input. Spots formed by the typical Mediterranean plants compete with other everything more tropical. Bananas bougainvillers, papyrus ... and stones. The sculptures that are found, still dripping with rain, are all granite. Behind a thick hedge I saw the pool. When we have much land available and the sea is far away, it is now the standard is to build a pool. But this pool one is really special, not so much because of its dimensions which are also impressive, but his background mosaic created on the basis of a design by the sculptor. A geometric design with two tones of azure-blue and burgundy that the transparency of the water and the reflection of light caress and transform constantly, an almost hypnotic way. A sculpture near the banana attracts my attention because of the effects it strange pink form. I cherish it and it is so nice to feel the stone reliefs and a chisel hard work left, and eternal life of the granite block before and after human intervention, we throw in our face all time dimension. A small slug climbing up the sculpture, it does not even leave a trace of his passage on the wet stone. She managed anyway to bring me back to reality, the reason why I am in this place. 

    With the lady we enter the studio. Small marble sculptures are arranged along a wall and on the large table, black and white, full and empty, with a very high purity. As I talk with sculptor I find myself caressing and once again the pleasure of the material seized me. But what drives a woman to make the sculpture, to this work as hard, I asked to Rosalda Gilardi. I only know that when I was taking classes at the Albertina Academy in Turin, we were made to shape the clay, but I was the only one in this course to request a piece of marble. " As far as I know many sculptors create a blank or a small sculpture and then they are craftsmen who make the room with the dimensions we have given them. It seems to me that against you by, you work directly block of marble or granite, it is not too tiring? "Of course it's tiring. Sometimes they do most of the work, which is the form side in the mass of the block, but then it is I who must realize the true sculpture. " When you create a new sculpture prepare first a drawing, model or do you work directly matter? "It's hard for me to create a draft study. In principle, the sculpture is already present in my mind and I just need to implement it in the concrete. " But you create the form on the basis of the material used, or the material is the result of the form? "Before creating a sculpture I think a lot. This is why I suffer from major headaches. When the sculpture was born in my mind, it's already form and matter together. " Is there a material with which you prefer to work? "Without doubt the marble and granite, though practically all I've tried. However, the metal does not please me. " But here, in your garden, I saw three large metal sculptures ... "Yes, but you see, it was an exhibition for San Marino, where I had been invited and they attended only metal sculptures. So I used the material recovery or recovery equipment. But with the metal can not only create empty. It lacks the full, you know? This is why I do not like too much. " You started to carve twenty years ago, to attend foundries and quarries How was accepted-the young sculptor woman you were? "Well, I must say. I have not had any problems. " There was not it at least a little suspicious to "low" this was going to be confronted with things such large dimensions? "That may be the case at the beginning, when I landed somewhere. But later, when they saw me at work when they saw my professionalism, they worked with me so full, without prejudice. Once a site I saw a machine that I could work well to dig inside the block, thus allowing to avoid many hours. I requested and took a little scared at first because they did not believe it possible. On the other hand, because they thought I would have stopped work for several days, I reassured them: "It will take a few hours." And that's how that happened. Things like this showed them that I had clear ideas and I was sure of myself in my work. That is why they always Estimated me. " While leafing through the photographs lady looking for those best suited to the illustration of this service will be, I finally observed his hands. I'm taking a desire to laugh at the idea of thinking about how much my idea was stupid, they can be different from any other woman. In fact they are small female hands certainly all just a little wrinkled like those of so many working women. Hands able to shape, sculpt, but also stroking plants, flowers. I see them as they collect the seeds of a strange flower that the lady wants to offer me. Impossible to know if they succeed in Milan to hatch. If this happens, it will be a great thing because then I always have before me the memory of Rosalda Gilardi, a sculptor with an impressive resume that has to sacrifice nothing of her femininity to practice his profession. I greet my host and I take the road to go home. Suddenly I wonder if I am able to write something. The place, the person, the sculptures. All this was too distracted from the task entrusted to me ... Then I calm myself by thinking that I should not do art criticism but only to meet the characters to readers, send them to the extent possible, the emotions I felt. And here Querceta today, emotions were the same as at home. 

  • Bruna Coradini


  • Hedges Tuncan to Ecuador . 
  • What strikes first in the appearance of lithographs Rosalda Bernocco Gilardi is the sharpness of the composition, rhythmic strength of the space in which it is given to the complexity of the emotional content. The image is based on a synthetic structure animated by a serious and solemn momentum and suggestive capacity mythical character. We must first of all take into account the experience of the artist in the field of sculpture. Regardless of size, sculptures Rosalda Gilardi often tend to the monumental solution, silhouette or group, steles, altar, including dialogue between several components, such as the net occupancy of a robust central position defined in relation to the surrounding space. We analyze the space as follows. It comes in the Hydrography starting down a curved plane, smoothed, which is not only a barren hill but a road or a place at the center of a missing population or an arena, a theater for ritual performances public an archaic distance. A second open space is the plane behind, vertical and informed, in substance of lithography becomes a sky punctuated by a horizontal alternating distant clouds. The apparent calm is actually made of a voltage surges that dominate each other. Therefore the spaces and colors tend to correspond with fidelity within a large established discourse on bipolar oppositions. A color value belongs to the monumental core, a value equivalent to the opposite extended and rarefied compact subtle in turn divided into three permanent and color substances such as a light gray blue (sky)-space environment, a more blue (dark clouds) and yet these same light blue gray (ground). is really amazing to see all the different ways in which a color can occur, according to the different positions that the artist assigns, pale-compact background color is more subtle and transparent, when we think of it as a heaven and unlimited space and it appears more dense and full when we think as referring to something earthly. Here before, in the foreground, the perception of color is dominated by the ideas of strength and compactness. Perception is really complicated, optical sensation turns and changes direction because of two forces or two mental stress which in this case is the passage from earth to heaven substance substance and the reference to a movement of the our eyes or our intention to suggest a way we walk, or move forward in this field, on this block of hardened sky and flattened on which advance the footsteps of our thinking: we are entering the scene, it's really fearful that we are moving, such mixed feelings of exuberance and religiosity to diaphragm blocks surrounded by hedges, the solemn and primary central stage. Meanwhile we have allowed ourselves surrounded by a series of links, reports and opposition. Two things the same strength but color which contrast, the field forward, and close behind that is the monumental group. Two things of equal color and density which contrast, the land and the sky. Two things different color and density of the two colors of the sky, that is to say, the descent from heaven itself and horizontal clouds that chant. Two things different color and density: the monumental group, and the sky behind in the distance. But once there, after we approached the monument, we can try to go straight inside. First surprise: the monument could be composed of organic material, and more exactly plant, it may be may be a carnal animality, and ultimately why not human. To discover these qualities can be from a fortuitous circumstance, outside. Rosalda saw these objects (or rather grabbed their material perception to build his vision) during a trip to Latin America. At Tuncan, Ecuador Indians grow hedges cutting and trimming them in the mass, without following the branches, but the plastic will of their own. Vegetable carvings on living. The leaves are small, oval fine, we do not even see the branches, wrapped and buried in a mass of very dark green, almost black. (You can glimpse what is behind the abstract volumetric forms, comparing the plastic sense of folk jewelery of pre-Columbian tradition). Hedges near cemeteries, fences in archaeological sites, elementary and spooky at the same time the colors surprising gardens, amid nights so clear that darkness exfoliate and turn blue, while the blades and sunsets sun light yellow and pink. Before being in nature, this show was already waiting in the mind of the beholder, for a very simple reason personal elective affinity between the inner world (own inclinations of the artist) and the extreme (the element is present in the Ecuadorian landscape). Just compare with the previous generation of artists in the field of sculpture, then we will find the highest meaning of the plastic, the pace of broad surfaces and profiles: the transformation of human organic forms (body hill, vegetation) in abstract forms, but that particular abstraction for which the pulsation or quivering (and to the sweetness) of living things is always present, felt, even if successful, secure and ready to burst is free, and the charge of internal tensions which gives its character to the sculpture. Back to lithographs. The masses are compact, but also labyrinthine. It can enter. Doors. Dens. Convex volumes vertical, horizontal concave parts, or vice versa. We refer immediately to another series of sculptures Rosalda Gilardi: those two alternating and twin components in perpetual thought wedding difficult, to meet and be sure not to get between toward and away. The line that defines these forms is continuous and synthetic. The line is strong but flexible, often it changes to become an almost impalpable granulation, where even full color becomes lighter, with chiaroscuro effects that never stand volume or drawing a gesture extended frank Overall, the picture is a mythical appearance. We define a representation that myth serves authentic meditation under fantastic appearances, including one with deep psychological significance, and a summary value, that is to say, able to summarize itself countless events in countless individuals. The hedge may seem archaic city wall. You can see the blocks may be the equivalent of other things, people whom we identify, sometimes almost a gathering of people who offer stiff resistance on the edge of a precipice lilac and black, some green black horizon on the background of a pink chasm between warm colors and cool colors or alternating between yellow and scarlet faded. This should be really mythical because it is not limited to a specific place. It is also the moment in time and mythical time the scene occurred once the origins, and it can be taken repeatedly and lived again each time for each of us (...). Rather recognize that these make up a coherent lithographs cycle: theme and variations, wherein the direction of said images and confirms through the same mutual comparison. And finally recognize an existential situation, the dialogue between a closed and an open mass range between assertion and dissolution between a visible physical presence and the invisible but real presence of the human psyche, it becomes visible as a very specific figurative language, essential eloquent 
  • May 23, 1980 Giuseppe Curonici


  • From "MARBLE N.5". 
  • The meeting of Rosalda Gilardi with marble had been prepared by one with the granite of Baveno: a stone of a steely color or pink, good for close forms in monumental structures with clear contours. His is a genuine vocation to conquer a severe style, bare, free of any superstructure that would affect the basic design. Going back to the origins, the first works of Rosalda had already shed some aspects of the sculptures of today, but to a lesser extent. Today, the measure has become exact, for maturity of vision, made up of many experiences and so much work, made from place to place, in the course of a few years particularly intense, almost feverish. It was ill find right relationship between image and space: a difficult relationship, at the same time inside and outside. When this ratio is missing, the sculpture does not hold, it becomes any object. Rosalda has found the true dimension of working outdoors, in nature, close to the mountains from which the quarry marble and granite. The environment suggests that relationship, forces, if you can, so to speak, to "see" in a free way, without too tight constraints of culture. Only as long as a complete spiritual freedom, it is possible to get a positive outcome to which came Rosalda with the five granite sculptures in the park-outdoor museum, designed by Pagani in Legnano. The comparison with other works, arranged in groups or isolated among the trees or open spaces, makes it possible to establish precise hierarchies of values, better than in any other place. The placement of a sculpture in a square, in a park, in a forest glade, is not easy, it is a simple fact manual, and well knew the ancients, the great sculptors of each classical sculpture has always had a destination: it was an object movable from place to place, in light condition or environment, from time to time different. And besides, even if hewn by the disciples or aid, was in any event by the end, until the last step, in marble, wood, clay or wax. Today too many sculptors if they are, maybe in armchair, looking at the work of the workers, giving, albeit occasionally, some advice. But then, the sculpture becomes a magnifying copy of a sketch, sometimes even your pocket. (I wonder what would become "Prisoners" by Michelangelo in the hands of a stonemason, while the Master talked with Vasari or with the Share or writing a letter or a sonnet. Michelangelo Imagine that, at some point, he says to stone mason " Stop! "to be faithful to the theory of" unfinished "?). And 'possible to give a copy, enlarged, diminished, or the same size dell'oroginale, the same value as the original? Or the idea dell'unicum is an outdated claim romantic? There is talk of mass production, for social reasons. But the production in series requires a choice of aesthetic and material character. The materials created by modern industry, suggest new formal solutions, which give the sculpture a different face, more joyful, more fun, more daring, breaking the chain of the classical tradition. With the advent of plastic objects, you can have a sculpture at a good price, to be worn under the arm to be raised in the air like a feather. "Let us entertain" say the British sculptors, paraphrasing Palazzeschi. Calder also had fun with his "mobiles", moved by the breeze blowing in the wind or like the leaves of a branch. And the "game" at some time there seemed to poetry. Rosalda that beats on the marble or granite, exercising muscle strength, has perhaps learned from his teacher Baglioni a "job" to lifers? In chaotic and crazy world of advertising entrusted to the cry of color, bright colored signs, the fashion set to the color more and more turned on, objects of common use by enticing colors, flowers artificially colored, in the busy modern world, there the color corresponds to the motion, a sculpture in marble or granite gray has no reason to exist? All the questions that we asked, the answer comes from those who believe in their work, by those who are fully committed to in that fight, not rhetoric but real, the artist resolved with different outcomes, addressing the perennial problem of choice and action. Rosalda studied at the Accademia Albertina in Turin, where he learned the basics "techniques" to make that series of manual operations, ranging from modeling clay to plaster cast, the retouching of the wax, the merger or the wood from the notch to ' sketch in marble. The Baglioni left to his students the freedom to express themselves as they wished, on the basis of the "trade" craft, which all too often creates "virtuous" of performers, acrobats of the technical marvel, who have little experience with poetry. (Even the "castrated" was the song of the righteous, like many colleagues, who warble sweetly in sculptures, which really lacks, as it was once, only the word). Rosalda with the freedom that it had been granted, he always refused the "virtuoso" to instead find themselves, struggling, often consuming all energy, the right way to conquer a dignity of style, allowing it to express their meditate formal conceptions. Let's say that his conception is most authentic for a sculpture of monumental character. And that his method is what Michelangelo called "taking away". And 'the slow method and impetuous of who knows how to work the marble, releasing a form of splinter splinter from the block that contains it and especially without inventing model. Rosalda part from an idea summarily sketched as a track, developed and correct, in the course of the work, or even modified, according to the settings of the matter or the case. In this way, explains the process of reduction of form to the essential elements of structural plastic, a process that ends with the achievement of the severe line of the stele or archaic Neolithic monument. But Rosalda not part of a cultural assumption, do not even think to perform rework of a "primitive", on the line of taste purist. The purity plastic, in the art of Rosalda, is a really congenial, necessary, outside of any cue moralistic tendency of controversy. His idea of art is schematic, linear, without concession to the pictorial material, the baroque structure, and the most current combinations of objects, colorful silhouettes superimposed as a sculptural collage. Weight and sculpture, rather than open forms, define the block, the mass of the squared volumes vertically, which has carved Rosalda Querceta and that, more than any other previous scultra, expresses his monumental conception. The floors are beaten, chipped or irregular points with parallel grooves, because risalino best values ​​of the matter, through the rustic modeling, and architectural design of the sculpture. More than the sources of a particular culture, one must go back in the case of Rosalda, a source outspoken, vigorous, robust, secure convictions, which leaves no room misunderstanding. So his marbles can live (the verb is more than appropriate) in this multi-colored, agitated, in a stillness that reveals, beneath the surface of one color, the momentum of life of a poetic inspiration. 
  • Giuseppe MARCHIORI, 1971


  • Presentation at the "Galleria dell'Alma" 1960. 
  • The direction of the plastic works of many contemporary sculptors, particularly committed, mainly a sense of movement. The bold and invented the hand silhouettes scansion , springs from the perception of a movement that transforms the naturalistic contours , with the simplicity of a gesture. In the living and organic work of sculptor Rosalda Gilardi , we can notice how the tension of silhouettes mentioned arise from the emergence of a movement that emanates from the figures themselves. It is right that the sculptor can give the title of "Dance " in some of his works , which represent female figures , affecting an apparent rest. Here, indeed , everything is dancing, ie order and calculate harmonies , figurative reminders become pretexts for pure curves and firm flat lines The human body acquires the transparency of a mental image that dissolves while keeping his presence . Rosalda Gilardi understood how Cubism released evoking the figure of everything that is not a form of invention . His bronze and alabaster are proposals body become drawn bows to who knows what mysterious target that does not cease to provoke and seeking inspiration ... But the target is not on the outside. It is within us and spurs us on to an elusive anxiety expression. This is all that we feel about the dancers Rosalda Gilardi and his silhouettes and able to witness the fervent interiority of his art. 
  • Kaisserlian 1960


  • Introduction to the Exhibition Lyceum, Italian Switzerland in 1961. 
  • What is the number and nature of the relationship between space (a term that should be understood in the sense given environment, realistic) and shape (itself detailed, characterized as a silhouette or something, if you want) The sculptor can discover and tell us, what new and continual visual openings and allusions to unexplored areas of the existing can he tell us, there is always cause material astonishment and surprise. It was like living in the middle of concrete elements, physically coercive, masses and voids are present within us and around us bringing limits to our actions, our eyes, our imagination finds. The statue is also determined, limited, signed. This it is a pure, abstract form, it is an image derived from the appearance of the visible. Yet the artist makes an unexpected character, a fallen as rain imaginable that disturbs and transforms all physical and spiritual rules guest, which gives new dimensions to our space and our usual environment. If the conventional rules of painting seem to offer a broader range of inventions and suggestions, because the possibilities of creating illusions of technical means, the color perspective and chiaroscuro undefined. In the end, we see that the sculptor has just as many other opportunities for creation and opportunity for the emotions aroused by the imagination. This recovery is not expected to stray from an old dispute about the supremacy of figurative arts terms, wants only an introduction to the world and how to operate the artist exhibiting here. Rosalda Gilardi Bernocco has indeed started to look for the actual forms and characteristics, the type of individual characters of great humanity. Even if it did not increase its interest in psychic or somatic data, short for portrait. She preferred the movements and structures of these body structures always linked to data relating to the nature, a critical anthropomorphism. But it is precisely from this examination of the figurative and symbolic canonical element in it that there has emerged a freer feeling and absolute: that the essence of the volume in his relentless opposition to space, or any event in the same relationship and dialogue. The forms are locked at the same time they acquired a vibrant and dynamic movement inside. Actions have lost their occasional value to acquire a more severe and timel ess. Limpid plans mirrored volumes conquer the void profiles that show depth, movements that are crystallized in a specific rhythm and harmony absorbed. It is always the human body, but this time as a true emblem of a plastic gasoline recognizes this category of the universe in which we live. A long journey of discovery and deepening is thus open to the stylistic and poetic sense of this talented sculptor. 
  • FRANCO Russoli 1961


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Shortly About Her

In 1972 Rosalda Gilardi took part in the Venice Biennale and was a guest of Peggy Guggenheim, who bouth the sculpture Presenze for her collection.


  • SAFFA 1961, partecipation in the Federal Sculpture Exhibition, Zurich 
  • Orengerie Luxembourg 1970, Partecipation in the exhibition "21th Exhibition of young Sculpture", Paris
  • Palazzo Strozzi 1974 partecipation in the Exhibition "Art Jewelry", Florence