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In a text entitled Ritratto, 1962, Ennio Morlotti recalls his friend Alfredo Chighine in the years prior to World War II. He describes always seeing him with a large portfolio under his arm, “in which there were large drawings executed in broad strokes in rough charcoal. They were nudes of women and mothers, which bore witness to a dramatic, very passionate and sorrowful period. The atmosphere is evocative of Sironi, Permeke, Ensor and Kokoschka.” The use of charcoal and the broad strokes had a parallel in his paintings, figurative at the time, where the color seems scraped against the surface of the canvas as if it were a simple plaster surface. [...]
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