27 MAGGIO 1965 moriva ANTONIO LIGABUE il folle genio della pittura naïf

Denominato “El Matt” dai contadini di Gualtieri, Antonio Ligabue nasce a Zurigo il 18 dicembre 1899 da Elisabetta Costa, e da padre ignoto. E di Ligabue è ormai nota la triste odissea esistenziale che segnò profondamente il suo lavoro.

Nel 1901 Bonfiglio Laccabue, emigrato in Svizzera dal comune di Gualtieri, sposa Elisabetta e ne riconosce il bambino che assume così il nome di Antonio Laccabue, cognome che cambierà in Ligabue nel 1942, presumibilmente per l’odio che nutriva verso il padre da lui visto come l’uxoricida della madre Elisabetta, morta tragicamente nel 1913 insieme a tre fratelli in seguito a un’intossicazione alimentare.

GLI ISTITUTI E I MANICOMI – In questo anno fu affidato a un istituto rieducativo di Marbach e successivamente, nel 1917, a soli diciotto anni, fu ricoverato nel manicomio di Pfäfers. Espulso dalla Svizzera per la sua vita turbolenta, Antonio Ligabue arriva nell’agosto 1919 a Gualtieri, paese d’origine del padre adottivo. L’impatto con il nuovo ambiente si rivela da subito triste e doloroso. Riportato al paese, vive grazie all’aiuto dell’Ospizio di mendicità Carri. Nel 1920 gli viene offerto un lavoro agli argini del Po: proprio in quel periodo inizia a dipingere.L’INCONTRO CON MAZZACURATI – I primi dipinti di Ligabue risalgono alla fine degli anni Venti: sono gli anni in cui Ligabue incontra a Gualtieri Marino Mazzacurati. Questo incontro gli cambia la vita. Dal pittore e scultore romagnolo Ligabue riceve i più sostanziosi rudimenti artistici insieme a colori e pennelli. Sodale di Scipione e Mafai nella Scuola Romana, Mazzacurati si prodiga per far conoscere l’arte di Toni, come lo chiamavano in paese; solamente a guerra finita la critica comincerà ad interessarsi ai lavori di Ligabue, visto come la perfetta incarnazione dell’artista popolare, del ‘poeta contadino’ autodidatta e istintivo.I RITORNI IN MANICOMIO – Nel 1937 viene ricoverato in manicomio a Reggio Emilia per atti di autolesionismo. Nel 1941 lo scultore Andrea Mozzali lo fa dimettere dall’ospedale psichiatrico e lo ospita a casa sua a Guastalla, vicino Reggio Emilia. Durante la guerra fa da interprete alle truppe tedesche. Nel 1945, per aver percosso con una bottiglia un militare tedesco, viene internato in manicomio rimanendovi per tre anni.LA FAMA E LA MORTE – Nel 1948 si fa più intensa la sua attività pittorica e giornalisti, critici e mercanti d’arte iniziano a interessarsi a lui. Nel 1957 Severo Boschi, firma de Il Resto del Carlino e il noto fotoreporter Aldo Ferrari gli fanno visita a Gualtieri: ne scaturisce un servizio sul quotidiano con immagini tuttora celebri. Nel 1961 viene allestita la sua prima mostra personale alla Galleria La Barcaccia di Roma. Subisce un incidente in motocicletta e l’anno successivo viene colpito da paresi. Guastalla gli dedica una grande mostra antologica. Chiede di essere battezzato e cresimato: muore il 27 maggio 1965. Riposa nel cimitero di Gualtieri e sulla sua lapide viene posta la maschera funebre in bronzo realizzata da Mozzali.LE OPERE DI LIGABUE – La parte più affascinante del suo lavoro pittorico sono i quadri dedicati agli animali dei quali Ligabue diceva: ‘Io so come sono fatti anche dentro’. Dai cavalli e umili buoi al lavoro o lotte da pollaio fra galli spumeggianti, alle tigri dalle fauci spalancate, i leoni mostruosi, i serpenti e le aquile che ghermiscono la preda o lottano per la sopravvivenza, è una vera e propria giungla che l’artista immagina con allucinata fantasia fra i boschi del Po. Ligabue dipinge a ritmo forsennato ma ha qualche problema con gli autoritratti, non gli vengono mai somiglianti. Decide così di modificarsi il volto per renderlo simile al dipinto, a mattonate. Anche la sua pittura è violenta, i rossi accesi, le pennellate grossolane, le mazzate in faccia.Dal primitivismo incerto della prima fase, più ingenua, fatta di una manipolazione ‘garbata’ di colori, che copre gli anni dal 1928 al ’39, si passa così all’esplosione espressionista dal colore violento e dalla pennellata convulsa del periodo successivo, caratterizzato da una tavolozza calda e vivida che esprime il dramma della propria esistenza attraverso la configurazione dell’aggressività animalesca.

fonte: Focus storia

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