By Boris Brollo

“I had an image of you overlapping remotely forgotten men…I think it was a symbol and summary of the Universal Male… Or were you Pan or Dionysos, or a faun or a satyr…What an illusion of lunar loneliness!”

                                                                                                                                                                                 From “Aphorisms” by Mariveda De Silva

Regarding the work of Giacinto Bosco, Paolo Levi writes: “The narration is of a disarming simplicity, without any rhetorical embellishment”.  It is precisely in this way that I prefer to read Giacinto’s sculpted figures. The romantic derivation of his narration with the explicit reference to the Moon is quite clear.

There is nothing more romantic than his faces and cuts.  The moon is divided in quarters and is portrayed by means of faces and even of sickles.  The moon also shows a prudish blushing.  But above all, she is a female who protects the women in love and gives them a white skin, as Mina was singing in an old song.

In the moonlight found inspiration L. Beethoven with his  Sonata 14, world-wide known as Mondschein/ Moonlight and the most impressionistic modern musician, Claude Debussy, who composed  Clair de Lune, the same moonlight that the Futurists intended to destroy and erase together with Venice, the city, par excellence, romantic.

Therefore, Moon as the big Mother protector, even licentious, but not too much.  She was addressed by animals: by wolfs and coyotes, but also, according to the legend, in the full moon nights, by the were-wolves!  And the humans could not be absent.  Let’s think of the Pierrot of the romantic paintings by Watteau or of the musical Pierrot Lunaire by A. Schonberg, where the protagonist is the virtuous poet Pierrot, a sad and melancholy hero who poetically gets by expressing with dexterity himself  and his ambiguous character.

A big part of this mythical quality is still tied up to the iconography of the “pagliaccio triste” (sad clown) of the post-modern period.

This is a sad poet in love who sentimentally sings to the moon his moon-struck loves.  Sitting over a bench, the Ur-romantic Raymond Peynet sees two little and cute fiancés and brightens up. “Les Amoureux” have always been, from their first expression, part of Peynet’s poetical narration and he will paint them for the rest of his life.

In a similar way, for Giacinto Bosco the two Sweethearts will always be part of his poetic sculpting tale like when He goes up to fetch the Moon for Her, who is his love, see “Ti prendo la Luna” (I fetch you the Moon”).

It is a scene derived from Ariosto’s Orlando Furioso, written at the peak of the Italian Renaissance, where Astolfo is looking for Orlando’s “lost wisdom” exactly there, in the Moon, “where all things lost on Earth are found”.

In such a way, for the love that is missing on Earth, here the enamored climbs over any support, bell tower, staircase or rope, in order to recover the lost object: Love.  In Dondolandosi (Rolling up) (2010), the Sweethearts are both in balance, each on a cusp of the moon, in a most felicitous equilibrium, looking at each other, with passionate expressions.

The Moon is smooth and impenetrable while They are porous and alien to the lunar fixity.  They are made of a flesh that is liable to all Moon humors.  So, their breaths and their bodies feel the effects of the change of time.  Because of this, there is the necessity of transferring their love in the Moon, hard and shiny like diamonds.

She is reclining in the Moon like in an hammock while He, below, like a Faun, plays on the flute his romantic visions in transformation ( Assorta sulla Luna con Fauno – Absorbed in the Moon with the Faun).

 There is also a  “Sunset Boulevard”  where She comes down to give him the gift of the moon through a double line of cypresses that reminds us the Carducci’s Bolgheri.  Besides, there is, strikingly. a little cart of Etruscan features, reminiscing Giacometti, where the Moon is dragged between the two Sweethearts who contemplate it as if it is their love transformed into a shiny and palpitating object.

There is also an attempt to merge in the love’s object that has been transformed in a lunar canoe. They are inside and from the two cusps of the dug-out canoe They raise their heads calling for love; They search for each other and merge in two bizarre lateral bushes that look like a hat in the form of a sickle.

This is “Dondolo nella luna tenendosi per mano” (Rolling up in the moon by holding hands)  (2010)  But it is in the “Tre volti della Luna” (Three faces of the Moon) that the poetic jump of Giacinto Bosco becomes unconscious classicismHe inscribes the two Sweethearts innocently embraced within the Moon and creates around them an almond-like cut.  Therefore, They are offered to to our view in an innocent Eden, before the Original Sin, when everything was love and purity.

It is a paradise environment as it is normally given back to us by the figure of the Christ Pantocrator, genuine epitome of the byzantine and medieval pictorial visions