Pier Alberto Filippi was born in Monza in 1944, He went near painting towards the end of years ’60 frequenting the art laboratory of his friend Attilio Carpanelli, to that time meeting place of painters and musicians, from which he has learned the base techniques of painting.
Later, he continued to cultivate the painting in a tightly private circle arriving to realise figurative works, landscapes and still lifes of particular chromatic composure.

Towards the 1993 he started to elaborate in a very particular pictorial key a series of notes of informal character where the human figure constituted the most important interest.
Small sketches to pencils, rigorously square, designed of throw under sudden impulse and later analysed in his atelier and transformed in absolutely original paints.
In 1996, the amazing originality of results and some recognitions of critics pushed him to continue on this road and to present his works to the public participating to collective and personal exhibitions in different galleries.

What today he proposes is a kind of transfiguration of natural forms through the mediation of two formal values:

realism and abstraction

The image that springs up from these mediated values creates a continuous allusive play between references and meanings that overcome the appearance of represented subjects and bring the memories to emerge from the subconscious.
Plastic, simple and synthetic forms, gotten with the use of few colours among which the blue in all its different tonalities predominates, get ready on the plane with a precise rhythmic that, animated from the sinuous play of the contours and from the contrast between the subject and the background, make the composition tense and dynamic.
Round forms represented in all the fullness of their volumes are predominant and also if the range of the used colours is the cold one, from each painting an emotional strength appears on the surface and in some cases the volumes of life graze the iconic eroticism.

The importance of the volume and form in the painting of Pier Alberto Filippi have pushed him from several years toward the sculpture by mean of which he translate in plastic synthesis the strength and the significance of his works.

THEY SAID ABOUT HIM
- Sara Fontana su Arte incontro  - periodico della libreria Bocca Milano – n°55 2006
- Il Popolo cattolico - Pieralberto Filippi: non solo scultura – Treviglio 3/6/2006
- “Una linea, una storia” – Prima pagina cronaca di Crema – 8/12/2005
- Dge – Pieralberto Filippi al Sant’Agostino – La cronaca – Crema 4/12/2005
- F.Ghis – L’astrazione di Pieralberto Filippi – La voce di Crema – 4/12/2005
- M.Zanotti – “Volume per tele e spazio”- Il nuovo torrazzo – 10/12/2005
- Claudio Rizzi – Studio monografico per mostra personale presso Museo Civico di Crema – 2005
- Franco Migliaccio – Simposio Internazionale di scultura  - Triuggio Luglio 2005
- Luisa Rota - "Il Cittadino della Brianza" 26/10/2004
- Giuseppe Casiraghi - Il Cittadino della Brianza - ottobre 2003
- Gino Casiraghi - Simposio di scultura - Usmate Velate - giugno - 2002
- Renata Navalesi Gerevini - "Il gioco delle forme e dei volumi" - Il Corriere Padano - 23/6/2000
- L. Marciano - "Metamorfosi" - Italia artistica - Vita Lyons - aprile 2000
- Renato Tomasina - "Il magico Blu di Filippi" - Cittadino della Brianza - 7/11/98
- M. Malì - "Volumi" - 1997
- Aldo Nodari - Annuario De Agostini - 1996
- Giorgio Seveso - Presentazione catalogo e mostra "I sensi della forma" 

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