Antonio Bertè - Woman's Face

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the subject depicted, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation.

Antonio Bertè's pictorial language always exists in a dimension poised between reality and abstraction, between objectivity and subjectivity. Indeed, his works are generally composed in a figurative language, yet completely transfigured by the artist's poetics. Thus, the entire composition of the work undergoes anti-naturalistic strains in its expressive key, both in terms of the formal synthesis of the subjects and, above all, in terms of the use of color. Indeed, Bertè's works are always contextualized in atmospheres dense with color and dynamic pictorial gestures.

Antonio Bertè was a Neapolitan artist born in 1936 and died in 2009. His career began in the 1960s, and by the 1970s he was a very popular artist. His visionary pictorial production draws inspiration from music and literature. He dedicated thematic cycles to Federico García Lorca (1970 and 1990), Alessandro Manzoni (1973), Kafka (1974), and Pirandello (1980). The "little men" often featured in his works have an existentialist symbolic value.

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