Sardinia is a land rich in history and culture. The anti-feudal uprisings of the end of the 18th century, which culminated on 28 April 1794 with the (momentary) expulsion of the Piedmontese from the island, represent one of the most vivid and glorious pages. The protagonist and inspirer of the revolt was Giovanni Maria Angioy, born in Bono on 21 October 1751. And in Bono, in Piazza Bialada, Liliana Cano created one of her masterpieces in 1984: the pictorial representation of those uprisings. A 160 square meter mural, in which the revolt is exalted, with scenes of oppression, struggle, euphoria, humiliation and suffering. A work of passion and love for the Sardinian people who have few equals, but who risk ruining themselves.
Liliana Cano, the great Sardinian painter who recently passed away, made that extraordinary drawing on a concrete surface, all taken from her work. In these cases, time is running out: rain and bad weather deteriorate the colors, which are now more opaque. In 2006 a first restoration, by the artist of Bono Tony Amos. But now, 15 years later, the large painting would need further and indispensable care.
"After the restoration, with quartz colors - explains Amos - I advised the municipal administration to create drainage channels to protect the work from rainwater. But nothing was done. Now it is absolutely necessary to intervene to preserve a splendid representation. artistic, made in my opinion by one of the greatest painters of the '900 ".
The mayor of Bono, Elio Mulas, ensures prompt intervention by the municipal administration. "We will budget the sums necessary for the restoration - he explains - and we will further enhance Piazza Bialada". Igino Panzino, 71, an established painter and son of Liliana Cano would also have another idea. "Some murals of my mother are unfortunately irrecoverable - he proposes - They should be replaced with the original drawings made with indestructible metal reliefs. I didn't have time to propose this idea to my mother".
Liliana Cano has in fact painted murals in various parts of Sardinia, in Bultei and Irgoli for example. What is certain is that in order to save Bono's mural and the others of the great disappeared painter (and not only hers), it would take an overall planning by the Region, which in this way would protect a cultural and artistic heritage of inestimable value. However, we must hurry.
