Paolo Emilio Bergamaschi - Figure

The human figure has always been at the center of artistic research. Since the Classical era, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the female figure is an expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the female figure has also been a central figure in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism. Paolo Emilio Bergamaschi's pictorial production focuses on the depiction of exotic female figures in ethnic dress, somewhat reminiscent of Gauguin's symbolism.

This work by Paolo Emilio Bergamaschi seems to draw inspiration from Paul Gauguin not only in its subject matter, but also, and above all, in its language. There is a clear reference to Symbolist art, as well as to South American murals, evident in the way the figure is depicted generically, stripped of individual features, to take on an iconic character. The representation thus transcends the contingent to take on broader meanings. Formally, a sinuous line defines simple, clean volumes. The color is applied, of course, with a Gauguin-like, compact flat brush. Even the palette, made up of warm, sunny hues, is consistent with the entire Symbolist aesthetic of this work, while the use of a gold background, typical of Bergamaschi, reaffirms the iconic nature of his aesthetic.

Paolo Emilio Bergamaschi was born in Pontecorvo in 1929. In 1947, he attended the School of Nude Painting at the Academy of Fine Arts in Rome. His talent was immediately recognized in the capital, and he began collaborating on the sets of various theater and film productions. After graduating in 1952, he began traveling throughout Europe and then to the United States, exhibiting at the Rose Gallery in New York and the South Sea Gallery in Miami. He later arrived in Venezuela, where he collaborated with various architects and created a large mural for the President of the Venezuelan Republic, Arturo Sosa. In 1960, he returned to Europe, where he exhibited with great success in Madrid, London, Cagliari, Lecce, Berlin, Gaeta, Frosinone, Foggia, Rome, Rieti, L'Aquila, Spoleto, Bergamo, and Monte Carlo. Bergamaschi received numerous awards and recognitions. He passed away prematurely in Frosinone in 1998.

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