The south of the Marche at the beginning of the twentieth century gave birth to a fair number of artists who would become important in the Italian panorama of modern art in general. They all moved in a provincial context, on the margins of a society that pulsated and spoke of social redemption, of new values, of élan vital. I think of the sculpture of Pericle Fazzini in the Nervi room in the Vatican, that climbing of existence that branches out and weaves new relationships, even with God, new forms appear and manifest themselves in the paintings and sculptures of these artists: they are works dynamics even in their representation of small objects, such as Licini's shells, not to mention Pericoli's hills, outlined by lines and dots, fragments of earth that seem to pulsate and move within the narrow space of the painting. Painting and sculpture born from the breakdown of nineteenth-century values, voice of the people to the people. Among these is also the painting of Giacomo Pomili also known as "Il Tarpato" whose works can be admired in the splendid village of Grottammare alta, also known as "il vecchio incasato".
It is worth a visit because the light of this place is truly suggestive and particular, especially in the morning, when the sun shines on the sea and reflects its rays on the coast.
Not to mention the typical taverns that have remained in the style of a hundred years ago and you really take a leap into the history of the places and context in which these artists were born.
Tarpato is a dreamer in the beautiful sense of the word. Looking at his paintings, they give the idea of happy and playful places, they are full of children and colors, trains and rails and boats, blue seas and beaches and coastlines with houses with flowers. His playful life, however, was not at all; he had found that probable nickname because he was unable to fly, in the sense of breaking away from those places, detaching himself from them. 
A special relationship with the inhabitants of the village who saw him as strange and in the end he chooses as a true friend a dog, a wolf, perhaps also a little distant from everyone. It also becomes a subject that is often found in his paintings, it is there that he takes flight, while he paints, and he will also make the nurse who treated him in the sanatorium of Ascoli Piceno fly, everything rises so as not to die on earth, not to retreat on this physical plane that trivializes everything it touches and finds.
Finally the pars construens takes shape. It tells of the place and its history such as that of the beautiful Esmeralda, the bell-ringer's daughter, kidnapped by the Macedonians who sold her to the Sultan who returned accompanied by a herd of elephants.
“We need a country,” Pavese said, “if only for the pleasure of leaving.”
He will never physically go away but in reality he has already built the elsewhere and he tells about it through his painting, narrating stories that are truer than literary reality.
The Museum opens onto one of the most suggestive views of Grottammare, overlooking the Adriatic Sea. 
