All About Italy (USA) - - Photorepor­tage - Marco Bertollini

Over the past few decades, many vil­lages all over Italy have wel­comed of­fi­cial mu­rals that, with the col­ors and imag­i­na­tion of artists and stu­dents of the Fine Arts Acad­e­mies from all over the world, trans­formed walk­ing in through the al­leys into vis­its to mu­se­ums.


Since 1956, this small moun­tain vil­lage known as the “Pain­ters’ Vil­lage” of­fered the ex­ter­nal walls of its houses to artists in­ter­ested in fres­co­ing them. To­day it has be­come an open-air mu­seum where you can ad­mire works by Giuseppe Mon­ta­nari; Aldo Carpi; Um­berto Faini; Fer­ruc­cio Fer­razzi; Francesco Menci; Eu­ge­nio Tomi­olo; Carmelo Nino Found and many oth­ers.


Since the first “Bi­en­nale of the Painted Wall” in 1965, ev­ery two years in Septem­ber, the me­dieval vil­lage wel­comes artists from all over the world who paint im­ages of dragons and fairies, land­scapes, and ab­stract vi­sions on its walls.


The col­or­ful paint­ings found on the houses, walls, and barns in this vil­lage on the western slope of Monte San Vi­cino in the Marche are the work of stu­dents of the Fine Arts from the acad­e­mies of Br­era, Urbino, and Macerata, with the par­tic­i­pa­tion of artists from all over the world.


In this vil­lage, known as “the pearl of the Tyrrhe­nian”, the tra­di­tion of mu­rals was ini­ti­ated in 1981 by the Mi­lanese painter Nani Razzetti. Since then, the vil­lage his­tor­i­cal cen­ter has been en­riched with more than 150 works cre­ated by Ital­ian and for­eign artists.


In the heart of Sar­dinia, the mu­rals on this vil­lage’s walls, dat­ing back to the 1960s, have a po­lit­i­cal con­no­ta­tion and re­count the shep­herds’ com­mit­ment to the de­fense of their land and their daily life in Barba­gia; many also in­spired by a hope for world on peace.


Here the doors of houses, stalls, ware­houses, and cel­lars grab vis­i­tors’ at­ten­tion. Over the years, dozens of in­ter­na­tion­ally renowned pain­ters and young artists painted about 150 doors, which, with their vivid col­ors, con­trast nicely with the com­pact gray of the stone walls.

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