Romeo Tamanti

People try to search for a single word, a single adjective that, by itself, can express an Artistís character, his relationship with his own work and the links between his work of art and the phenomenal reality. However, whenever this happens, the single definition seems to be approximate and inadequate for the purpose.

It is quite different when we consider Romeo Tamantiís approach to art. It is a classic approach that leads to a classic artistic result in Tamantiís work as an autonomous expressive moment, not as coming from subsequent cultural mediations. Therefore, the term classic is a right and no more approximate attribute, even if it does not exhaust all the subjects and the contents of Tamantiís research and production. A production characterized by a very functional immediateness, to which we must ascribe a relative, but not exclusive importance.

Regarding the functional immediateness is the more evident peculiarity of Tamantiís sculptures that are represented by the real function they have in our everyday life. They are tables: small, writing, gaming tables, or generally furniture with an anthropomorphous aspect. And this is his distinctive feature, his invention, the recovery of an expressive use quite different from the common. Itís characteristic and structure is itís celebrative and monumental look.

Tamantiís sculptures, however, can never turn into simple monuments, even if they can sometimes be conceived out of their usual functional opportunity. In his works, the preeminent research is devoted to Man. Such a particular Man is conceived as the archetype of mankind, a Man living out of the historical circumstances that award to him only a walking-part, and deprives him of his natural leading actor part.

Tamanti has not, in his opinion, referred to such a Manís central position as coming from Nietzscheís or DíAnnunzioís Superman theory. To him, he has developed a sort of neohumanism, according to which the human factor is exalted, not by the man-against-man fight, but by the struggle against all fatal and predestined elements. In his works, Tamanti hopes for a global mankindís victory, and devotes his forces to underline the strain, the pain, and the deliberation during the fight without the fit of despair.

Another aspect of Tamantiís classic character is surely represented by his moral and intellectual positivity that brings him to refuse each fit of despair without refusing the life. Thanks to this fundamental attitude, he takes part in the contemporaneous events without any ideological screen, and pre-fabricated interpretation. Therefore, Tamanti has developed a direct and immediate relationship with the work of art that affect his expressive skill in a positive way. This delivers him from each exasperated "pathos" and lets him dwell upon the particular an aesthetic al and technical precious particular while experimenting with some new decorative conditions. These are the very expressions of his will to succeed that turn into a sort of living philosophy that becomes a joy of living.

According to these observations, the character of Tamantiís choices seem to be only intuitive, out of the contemporary artís historical development, but it is not so. Tamanti refuses a second leading actor part, he wishes to always be a protagonist; and thus he has developed his reflection upon the contemporary art, instead of following it.


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