Luigi  Valerio

I met him during the Art competition <Giulio Rodino'> and on looking
at his pictures I realize that I was in front of a very able artist whose
technical and spiritual qualities are also extraordinary.
His characters showing a light chromaticism and an elegant
geometric cutting, remind me of < Ottone Rosai's > compositions.
Mass and volume, the immense breath in an airy structure,
the natural  expression of  unreal sense, show me a creative mind 
whose  deep and introspective spirit is the essential reason of the
continuous search.
Even if, figurative art should be the basis of his work, the transfiguration 
of the realistic mark in a positive way, and chromaticity are his stylistic
reason.
He expresses his poetic personality in a harmony of light lines
and plans.
The bent for the naturalistic shape is a loving and living message
that our artist want to giver with  a personal and heartfelt language.
It does not matter whether his chromaticism and his thought draw 
inspiration from previous experience; what i more, it is his inmost 
personality, such a charm and mystery that gives, as result of the work,
a poetic passage with a secret melancholy.
After all that, during his artistic way, he has been appreciated
by skillful writers and critics among which Luigi Valerio.
 
 
 

                                                           Luigi Eboli 

The colour breaks into Mario Troncone's painting as a thunderbolt.
It dominates, assails the vigorous sign and marks it sharpness with
decided rhythms, even though limited in the meaningful rationality
planned on bright but not clashing tones so that they conform to 
a mental drawing which does not suffer any reflectors or renounces
whenever it evinces.
This is the first emotional perception that spring from his work.
His painting keeps inside jealousy, the ancient and solar roots 
of the South where everything is subjected to the inexorable law 
of the absolute and to the exasperation of each dimension.
In every picture, fist of all, you notice the remarkable chromatism.
If you examine the painting  thoroughly you notice that there is 
an essential reason to justify this manifest use of colour. 
This is a natural propensity to represent a staged tale that need 
to be expressed in the space, whatever  subject it is, according to
extensive criteria of possession and aggregation of every field.
Even though the artist tries to arouse interest by an increasing
concentric action, he does not forget to emphasize with the same
efficiency, the so-called second leading parts, in a careful  play 
of contrast and complement.
A fundamental characteristic of the painter is to make a completely 
and satisfactory work.
For this reason it is possible for him to prefer, with a particular 
attention, the figures  as they give him the possibility of searching
their inwardness.
It is not important which part they pal, they are alive.
I believe this way of painting is absolutely self-reliant and it does not
link to previous experiences. 
This is indicative of a lively and sharp personality.
He prefers to develop his painting through a direct progressive and 
automatic procedure rather  than to draw previously his plan, his idea 
unless by large lines.
If so, it means that his intuitive agility is surprising, however consequent
on a real basis preparation.
It is probable that it is a mere academic subject where Troncone  is 
stylically placed. 
If this is necessary, his painting might be placed in a very 
impressionism of movement.
I sometimes notice traces of a neofoturism which is very controlled 
in its development.
But these are only perceptions, appearances of a language set out 
to give some definitive situatios: the symbolism, scenes of lived life.
The landscape is only a pretext and it always presumes the presence
of man. 
The culture of existence surrounded with other important parts of the 
animal world ( horses especially) are of great importance in Troncone's 
philosophy.
Everything seems to be transcended, everything  which expresses
the personality of Artist and Man, in a inseparable  form, in all more
fine aspects of knowledge.
 
 

                                                           Giuseppe Casiraghi

It is right that critic pays attention to the great number of painters and 
to many bluffs effected in this field.
When art is really art there is not need for helpers of prophets
(Mario Troncone does not form misunderstanding) to defend from a lot of hackers.
These preliminary remarks seem to be usefully order to appreciate good artists from ambiguous ones.
These is a sound ability of composition that forewarns (way already explored by Ottone Rosai) a simplified structural conception, 
the metaphysical loneliness of mine-hundreds poetry.
There are a lot of inventions in Troncone. They are generally marked by 
geometrical co-ordinates and chromatic creativeness of large 
impression; the figures have the meaning (they are surrounded by 
golden refinement) of a painful, lash and reasoning psychology.
Distress is the previous state where a veil of pity too is drawn(faces 
already afflicted with their previous condition) Pity finds its substratum 
in the dramatic subjects of Rosai's magic realism.
It is positive to talk about Troncone and his attention to the late realism, 
especially in the figures where some characteristics and form of an 
existential nature are present.
I must talk about his maturity, geometric sense and plasticity (at the 
 most). The most important point is a totally of composition (therefore 
 self-sufficient) and in this case the work does not avail itself of variant 
 forms.
 He is a painter with an essential balance matured through suffered 
 introspective examinations. He reaches a surprising synthesis just
with a stroke.
 There is no doubt that he is a sweet poet who represent in his creations  the burden of the man withdrawn into his atavistic rules and 
 compromised into his usual behavior.

                                                       Mario Severini

Art expo Texas Dallas  in 1983
Young Artists from Europe

New York City in 1985
Present young artits from Europe

Art expo Tokio in 1985
Lafort museum

At Salon de Nations Parisi in 1982
S.O.C.A.P. Bouleyard Georges
Fovon  Ginevre

Invited and taken part of  Metropolas
Internationale Gallerie d ' Arte 8
Rue des Pasqus 1201  Ginevre

With Cultural Initiative Center
Palace  Polverosi al Tritone
Via del Tritone 46/A Rome
 

Anno Santo (Arte Sacra)  Rome
Awarded gold medal in 1973

Shows Biennial of  Monte Carlo  in 1974

Le Monde de la Culture e des Arts<M.C.A.>
Esposition Internationale (Painture, Sculpture, Gravure,
Mosaique. ...) Palais des Arts - Marseille 2000
Grande Me'daille D'or <M.C.A.>               1er Prix