Well, the memories of Giorgio Morandi are so many. As I told you before I do not come from the Academy by tradition, and even in my painting I am not one of Morandi’s followers. I am not a big fan of Morandi when it comes to painting. What did I love about him? I loved Morandi’s deeply human and cultural stature. I mean that he represented a moral model for us. Just think of a young man living and training during the twenty years of fascism in Italy. There was the limit of a self-sufficient culture, there was not a lot of information. Today, young people can enjoy hundreds of information channels, and everyone can have a broad cultural worldview whether one lives in Bologna or in Cortina d'Ampezzo. Our training, instead, and my training in Bologna at that time was to live in a closed almost medieval citadel. Bologna was closed, is closed. Even the Italian culture was limited. Hence, Morandi represented for us, for me and for some other Bolognese people that I mentioned before, a way of life. He gave us a clear picture of the way in which the artist was supposed to work. So secluded, so shy, so little official. With such an intimate, secret, moral painting. That is why he was our model. It is clear then that the image of the Morandi composition provides a model where man is not included, is not represented as in the great compositions by great painters, such as Picasso, Braque or Matisse, just to mention a few famous names. Other names of painters belonging to the same period, such as De Chirico or Sironi, can be mentioned as figurative painters. In this climate, the painter whom I loved the most, oddly enough, was an official painter of the regime, i.e. Sironi. But Giorgio Morandi gave me the image of a more secret measure, and thus he became my model.

(RADIO CORTINA – Interview with Aldo Borgonzoni - DATE: END OF DECEMBER 1976)