Pier Augusto Breccia - The Sentence/The Trojan Horse

Surrealist aesthetics emerged around the 1920s, encompassing all fields of artistic research. Specifically, in the visual arts, Surrealism sought to explore the human subconscious and translate it into artwork through a mechanical writing process based on dream analysis. Consequently, Surrealist artworks propose the representation of a dreamlike dimension, completely dissociated from reality. However, this representation often relies on a hyperrealistic formal rendering, precisely to paradoxically accentuate the illusory and ambiguous nature of the surreal dimension.

All of Pier Augusto Breccia's works belong to a dimension poised between Metaphysical and Surrealist art. This is explained by the fact that his subjects are clearly dreamlike visions, yet conceived with a rationalistic approach typical of the De Chirico school. For Breccia, the creator of Hermeneutic painting, a work of art must reveal the Being of the viewer. Thus, the viewer is called upon to interpret the image through their own experience and culture. The two works in question are preparatory sketches for two pencil drawings.

Pier Augusto Breccia was born in Trento in 1943 and passed away in 2017. He successfully practiced as a cardiac surgeon in Rome until 1985, when he decided to devote himself to painting. He moved to New York and exhibited his works at the Arras Gallery and in other American and European cities. Among the many exhibitions of his painting career we recall the retrospectives at Palazzo dei Papi (Viterbo, 1997), Palazzo dei Sette (Orvieto, 2000 and 2007), Museo del Vittoriano (Rome, 2003), Museo di Palazzo Ziino (Palermo, 2004), Italian Cultural Institute (Brussels, 2004), Archivio di Stato (Florence, 2005), Museo di Palazzo Venezia (Rome, 2007), Rocca Paolina (Perugia 2010), Fortezza (Montepulciano 2012), Palazzo Trentini (Trento 2017).

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