Filippo De Pisis

On a rainy day in October 1952 I had the opportunity to meet Jean Calogero introduced to me by a mutual friend. He submitted to me a monograph of his to receive my opinion from which I deduced that his talent and his artistic work could have a worldwide resonance.

1968 Calogero. English Edition

GINO SEVERINI “ Ici Paris" (1953)

I met Jean Calogero in 1947 when he settled in Paris from his Sicily. On the occasion of a meeting in my studio he submitted to me some of his drawings, tempera and some paintings made on cardboard because he told me that he did not have the economic possibilities to paint on canvas. He wanted my opinion and since I noticed his talent a lot, I reassured him of the sure success of his future and realizing his very disadvantaged conditions, I encouraged him by telling him my odyssey that began in 1910 against hunger together with my friends Picasso, Modigliani, Soutine, Kisling and many others. I directed him to some gallery and I still remember today his pallor and discouragement disappeared because he noticed a close friend in me.

1972 Edizione Galleria Marotta Milano


Calogero ... his musical name seems to derive from the alteration of the calligraphic word. This may be the best definition of his style. Since the overpopulated space can only enter life through self-affirmation and careful technique, Calogero has never used the clear and austere line of an existing architecture. But its line is far from being insignificant. It's like seeing through a misted window or reflected in a wind-rippled pond. But a comparison must be made between the patterned row of pillars of Italian churches and the severe classical columns, to see that Calogero's vision increases.

1989 Edizione Galleria Niho Garo Tokio


Jean Calogero: many have talked about it, will talk about it, admire it. Others dispute it: the artist, the surrealist ... For me, only my father.
It is fortunate to “live” an artist. As an adult, today, I understand the exceptionality of what, as a child, I considered normal.
I think that an artist is not a way of being: artists are born.
Since childhood my father had shown a particular inclination for drawing and was incredibly attracted to it, he told me. He felt the need to imprint (indiscriminately with colored chalk or charcoal) and transfer his art wherever it happened: on the walls, on the ground, on school notebooks, on pieces of sheets stolen from his mother. [...]

1993 Edizione Galleria Profili d'arte Catania


Goethe's claim about his poems that they would have all the character of a great confession is further strengthened by Hegel for whom the essence of art consists in bringing man in front of himself. And an artist who places himself in front of himself cannot help but visualize his life that overwhelmingly emerges in personal colored forms, a sign of his artistic vitality: the search for form can only be successful if it is conducted as a search for content, Arnheim writes. .
When does the imagination become productive? When do forms become signifiers? Signifiers of what? What are they made of?

1999 Edizione Galleria Pinacoteca Roma


One of the little-explored elements in the vast literature and critical fortune of Maestro Jean Calogero is certainly the ironic component of his themes that are always different and always the same between the absurd and the everyday. It implements a game of parts, an overturning of the known, a reversal of the common sense of logic between the natural and the artificial. The ironic aspect, a pre-eminent element in the phenomenology of contemporary art, becomes a paradoxical language when Calogero faces the metaphysical assumption of reality ..

2016 Un disegnatore, autore di un unico immenso quadro. Di Nicolo' D'Alessandro. Edizione Laboratorio Museo del disegno. PA


At the age of 25, after a brief Roman interlude in the company of Guttuso, the Catania painter Jean Calogero moved to Paris, where he received the baptism of art, assuming, following numerous awards, the definitive name of Jean Calogero. By internalizing the impressionist lesson and avant-garde research, the artist matures his expressive research giving proof of absolute originality, in the aesthetic transfiguration of his own existential experience. The years spent abroad are therefore fundamental for the painter's bildung, who starting from the 1950s will give shape to his imagination: a carnival that is only chromatically joyful, with its enfants musiciens invaded by a myriad of colored objects, from trumpets to headdresses. of papier-mâché, from crystal marbles to aquariums populated with shapeless fish; a theater crystallized by time because «if everything has really changed» - as the fellow countryman Vitaliano Brancati writes - «in the carnival it seems that everything finds itself and returns to its starting point». [...]

2019. La Sicilia di Jean Calogero”Leonardo Sciascia, “Nota su


Arthur Miller; Andre’ Mouris; Guy Deausille; Salvatore Quattrocchi; Vincenzo Di Maria; Lucio Sciacca;
Cesare Bergoglio; Alfio Coccia; Marcello Camillucci; Virgilio Guzzi; Toni Bonavita; Luigi Tallarico;
John Hart; Ugo Ferroni; Vittorio Scorza; Luigi Servolini; Toni Bonavita; Vito Apuleo;
Maria Grazia Cutuli; Alain A. De Ballancourt; Giovanni Capuzzo.