Ideas jotted down by Giovanni Testori for an exhibition on Pier Francesco Guala provide a starting-point for presenting unpublished or little-known painting selected for that occasion, with the addition of further unknown canvases and a drawing for a lost altarpiece. These works bu Guala, a native of Casale Monferrato, are arranged in a sequence revealing his evolution from seventeenth-century culture to a starlingly Rococo style, fully attuned to the parallel development of Giuseppe Antonio Pianca from the Valesia. Testori uses a pastry-based metaphor that becomes a leitmotif for a reading of Guala's agitated manner, following his creative talent in portraiture and sacred subjects, so as to understand his felicitous handling, which was not without a subtle sense of disquiet and far more dramatic than Pianca's perceived storminess. These two artists offer splendid examples of intense originality and non-academic painting in the heart of Piedmont and on its borders with Lombardy
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