English version.

Particularly interesting is the allegorical, metaphoric and symbolic view of the paintings by Guido Parigi. Each painting is characterized by a double reading: artistic, technical, objective, visual, and written, narrated, three-dimensional, in which the image conceals a story. For example, the painting entitled "12, twelve" in addition to the Tuscan landscape, reveals a religious image, tells us about the twelve apostles attacked by evil forces (dark shadows in the ground that converge at the top of the hill). The twelve connect the ground, the material world, immanent, to heaven, to the transcendent. Almost to protect it or to protect itself from the dark forces. The twelve apostles connect this land to the other. Then there is often a reference to the number "3", a number that reveals different religious symbols.

 Guido Parigi’s paintings mainly touch on four themes:

  1. Women, written, imagined both at a reflexive and prospective level: women in the storm, who advance with difficulty; women at the window, women waiting, women in the mirror, with apple. The apple clearly symbolizes youth, transgression. As confirmation of the life that is past, the image reflects in the mirror a woman clearly younger (hair color) than she is.

  2. Another recurring theme is the rural landscape. Suggestive views of hills and farmhouses in the Tuscan countryside where the painter spent part of his childhood. The paintings depicting scenery and rural landscapes, are, as the artist says, paintings associating, in addition to first quality oil colors (but industrial), also natural pigments composed by hand (the author uses to collect, in the Tuscan countryside, lands that he works until creating a mixture that he then applies on the canvases). The author has also experimented with the use of alternative colours and pigments created with organic wine. 

  3. The house, (home and not house) symbolizes the domestic hearth. Often inserted in snowy, cold contexts, it represents the family, the family warmth opposed to the cold loneliness.

  4. Religious, spiritual theme. In the author the spiritual aspect is almost always present. More or less each canvas symbolizes, writes, tells about something that transcends the immanent reality, objective, and refers to something else, higher.