{"title":"Enrico Lombardi","description":"\u003cp\u003eOpere di Enrico Lombardi in vendita su Venderequadri, da collezioni private e gallerie. Hai un'opera di Enrico Lombardi? \u003ca href=\"\/en\/pages\/valuta-la-tua-opera\"\u003eRichiedi la valutazione gratuita\u003c\/a\u003e: risposta entro 48 ore.\u003c\/p\u003e","products":[{"product_id":"enrico-lombardi-2-3","title":"Enrico Lombardi - Double Entendre","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210603835778,"sku":"AMAL001","price":2900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/doppio-senso.png?v=1768391546"},{"product_id":"enrico-lombardi-2-4","title":"Enrico Lombardi - My Intimate Joy","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210603966850,"sku":"AMAL002","price":2900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Mia-intima-gioia.png?v=1768391547"},{"product_id":"enrico-lombardi-2-2","title":"Enrico Lombardi - Other Vanishing Points","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604327298,"sku":"AMAL003","price":2900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Altri-punti-di-fuga.png?v=1768391548"},{"product_id":"enrico-lombardi-2-6","title":"Enrico Lombardi - Oblique Moments","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604392834,"sku":"AMAL004","price":2300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Attimi-obliqui.png?v=1768391550"},{"product_id":"enrico-lombardi-2-5","title":"Enrico Lombardi - The Secret of the World","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604458370,"sku":"AMAL005","price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Il-segreto-del-mondo.png?v=1768391551"},{"product_id":"enrico-lombardi-2","title":"Enrico Lombardi - In the area","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604523906,"sku":"AMAL006","price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Nella-zona.png?v=1768391552"},{"product_id":"enrico-lombardi-2-7","title":"Enrico Lombardi - In no particular order","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604556674,"sku":"AMAL007","price":2006.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/In-ordine-Sparso.png?v=1768391553"},{"product_id":"enrico-lombardi-2-8","title":"Enrico Lombardi - The Only Possible Way","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604654978,"sku":"AMAL008","price":2800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Unica-strada-possibile.png?v=1768391553"},{"product_id":"enrico-lombardi-2-9","title":"Enrico Lombardi - Paolo and Francesca 2nd Variation","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604720514,"sku":"AMAL009","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Paolo-e-francesca.png?v=1768391555"},{"product_id":"enrico-lombardi-2-10","title":"Enrico Lombardi - The Gifts of the Morning","description":"\u003cp style=\"text-align: justify;\"\u003ePainter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968\/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.\u003c\/p\u003e","brand":"Maltoni Alberto","offers":[{"title":"Default Title","offer_id":56210604851586,"sku":"AMAL010","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/I-doni-del-mattino.png?v=1768391556"},{"product_id":"enrico-lombardi-la-casa-dei-segreti-delle-ripetizioni","title":"Enrico Lombardi - The House of Secrets and Repetitions","description":"\u003cp style=\"text-align: justify;\"\u003eThe urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eEnrico Lombardi's artistic language is deeply rooted in the Italian pictorial tradition and draws precisely from those idealized and rationalized depictions of cities that populate the works of the 14th and 15th centuries. Lombardi seeks to forge a connection between reality and Surrealism by reproducing city panoramas, yet pushing the rational component to the limit. Thus, these views occupy a middle ground, which can also be called Metaphysical. Formally, Lombardi creates pure volumes, executed with an extraordinarily objective technique and slicing through evocative shafts of light. Color-wise, he is a painter who leans almost toward monochrome, accentuating the unreal quality of these views.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eEnrico Lombardi was born in Meldola in 1958. His career has lasted over forty years and he has exhibited his works in numerous solo and group exhibitions both in Italy and abroad. Among others we remember the “First Mediterranean Biennial” in Barcelona and the “Young Biennial” in Bologna (1985), two editions of the “Campigna Prize” in S.Sofia (1987-1990), “Paintings. The feeling and the form” in Treviso and Bologna (1996), the “First Biennial of fantastic and marvelous figuration” at the Poppi castle (1997), “Sui Generis” at the PAC in Milan (2000), “Figure del '900 (2)” in Bologna (2001), “Urban landscape” at the Carrousel du Louvre in Paris (2005). He has held numerous solo exhibitions, three of which with the Forni Gallery in Bologna and Milan (2000-2002-2006), two anthological exhibitions at the Wimmer Gallery in Montpellier (1999) and at the Galleria delle Arti in Bologna (1997), “Distanze” in Apt (2004), “L'oro della memoria” at the Art Bank Gallery in London (2005).\u003c\/p\u003e","brand":"Berola Ivan","offers":[{"title":"Default Title","offer_id":56212621164930,"sku":"IBER002","price":2700.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Immagine_0cfe6d62-433d-4c04-9f11-e056b82c1e83.jpg?v=1768406221"},{"product_id":"enrico-lombardi-precipitare-nel-tempo","title":"Enrico Lombardi - Falling Through Time","description":"\u003cp style=\"text-align: justify;\"\u003eThe urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eEnrico Lombardi's artistic language is deeply rooted in the Italian pictorial tradition and draws precisely from those idealized and rationalized depictions of cities that populate the works of the 14th and 15th centuries. Lombardi seeks to forge a connection between reality and Surrealism by reproducing city panoramas, yet pushing the rational component to the limit. Thus, these views occupy a middle ground, which can also be called Metaphysical. Formally, Lombardi creates pure volumes, executed with an extraordinarily objective technique and slicing through evocative shafts of light. Color-wise, he is a painter who leans almost toward monochrome, accentuating the unreal quality of these views. In the specific case of this painting, Lombardi completely subverts the spatial rules of reality, adding a further surreal component to this work.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eEnrico Lombardi was born in Meldola in 1958. His career has lasted over forty years and he has exhibited his works in numerous solo and group exhibitions both in Italy and abroad. Among others we remember the “First Mediterranean Biennial” in Barcelona and the “Young Biennial” in Bologna (1985), two editions of the “Campigna Prize” in S.Sofia (1987-1990), “Paintings. The feeling and the form” in Treviso and Bologna (1996), the “First Biennial of fantastic and marvelous figuration” at the Poppi castle (1997), “Sui Generis” at the PAC in Milan (2000), “Figure del '900 (2)” in Bologna (2001), “Urban landscape” at the Carrousel du Louvre in Paris (2005). He has held numerous solo exhibitions, three of which with the Forni Gallery in Bologna and Milan (2000-2002-2006), two anthological exhibitions at the Wimmer Gallery in Montpellier (1999) and at the Galleria delle Arti in Bologna (1997), “Distanze” in Apt (2004), “L'oro della memoria” at the Art Bank Gallery in London (2005).\u003c\/p\u003e","brand":"Montino Sammj","offers":[{"title":"Default Title","offer_id":56212838220162,"sku":"SMON002","price":5000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/E-LOMBARDI.jpg?v=1768407115"}],"url":"https:\/\/venderequadri.it\/en\/collections\/enrico-lombardi.oembed","provider":"Venderequadri","version":"1.0","type":"link"}