TOMMASO FERRONI - ETCHING FOLDER OF 6

In the history of art, a clear distinction can often be made between figurative and abstract stylistic movements. However, when an artist's goal is to depict an object that resonates with phenomenal reality but is also charged with hidden and symbolic meaning, this boundary can become blurred. Symbolism and Expressionism are emblematic stylistic movements in their conceptual interpretation of reality, with an iconic rendering of images and a symbolic interpretation in the use of color. In Gianfranco Ferroni's paintings, abstract and figurative blend together, almost seamlessly. This painter's favorite subjects are seemingly simple: small interiors featuring objects or people. But the artist uses an extremely experimental language, always striving for strong expressiveness, with a strong existential connotation that renders reality complex.

As we can also see from this collection of etchings, Gianfranco Ferroni's starting point is tangible reality, of which he leaves a clearly visible trace in his work. In this case, the vision of small interiors inspires the artist to create a complex composition developed within an articulated space. This allows Ferroni to modulate the positions of the characters and objects through overlapping and multiple viewpoints. Ferroni's experimental approach, however, is also expressed formally: first and foremost, the expressionist synthesis of the subjects, delineated by a nervous line that simplifies their forms with a frenetic rhythm. The entire surface of the works is pervaded by intense vibrations that reverberate from the subjects throughout the space, characterizing these works with an intense existentialist poetics.

Gianfranco Ferroni, painter, was born in Livorno in 1927. After completing his studies at the scientific high school in Ancona, he devoted himself to painting as a self-taught artist, debuting in Milan in 1955 with works of a realism intimately tinged with existentialism and marked by a profound human and political commitment. Also the author of numerous drawings and engravings that often anticipate the solutions of his paintings, in the 1960s Ferroni focused his research on disjointed images, an expression of a violent realism that found its most congenial themes in livid urban landscapes, portraits, and interior scenes. His works were presented at various editions of the Venice Biennale (1958, 1964, 1968, 1982) and the Rome Quadriennale (1959, 1965, 1972), in exhibitions such as New Perspectives of Young Italian Painting (Bologna, 1962) and Existential Realism. Moments in the history of Italian art (Milan, 1990-91) as well as in important personal exhibitions in Conegliano (1991 and 1999, Municipal Gallery of Modern Art in Palazzo Sarcinelli), in Bologna (1994, Municipal Gallery of Modern Art), and in Milan (1997, Palazzo Reale).

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