Gianni Martinelli exhibited at Galleria Gagliardi from 1998 to 2000.
One of the first, but wrong ones, impressions that it is had some painting of Martinelli it is that it has some relative with the American iperrealism. Not at all. Perhaps the results can be handed in relationship, but the presuppositions lack. In Martinelli, as in other Italian painters, there is a cultural sedimentation that is totally absent the U.S. It is not a matter of objectivity but of as you get it. Beyond the tubes of color there are the tones, that are reached by mix, by veilings, by overlaps, by sufferings. And then there is the deep knowledge of the techniques and materials, studied for years by Martinelli, which has been developing in the Italian art from Four hundreds to today. To compete with the objectivity is not for Martinelli a goal but a mean of which it uses for escaping a cup, a pair of glasses and other simple objects to the mental aphasia to which it seems to condemn them the strength of the habit. These objects appear us arabescati from an ironic look and had a good time and not articulated by a fury iconoclast. Martinelli believes in his job, that has been bringing ahead for years without never granting him one day of respite, dreamer, stubborn and tenacious, inflexible also with himself, solitary and generous He doesn't accept compromises, even more with the painting. "Because the painting is, overall, a serious thing. The painting cannot be a hobby: it is torment, it is a matter to her way tragic." Francis Giacomazzi