Ugo Attardi - Lady Luck

The iconography of this work certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. It is a type of subject that can be traced back to the artistic language of late nineteenth-century painters such as Moreau, Bocklin, or Puvis des Chavannes, who, despite using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.

In this sculpture, Ugo Attardi creates a figure of tremendous expressive power, simultaneously concrete and transcendental. The sitter's sinuous anatomy is reflected in an ostentatious stillness and a formal synthesis that enhances the plastic qualities (there is a certain resemblance to William Blake's figures). The composition is in tune with a perfect spirit of unitary harmony. The figure interacts perfectly with the space created by the circle in an aesthetic based on the relationship between figure and geometry (as in Leonardo's Vitruvian Man).

Ugo Attardi, born in Sori in 1923 and died in Rome in 2006, was a painter and sculptor. After beginning his career as an abstract artist, joining the Forma 1 group, in the 1950s he turned to Expressionism, drawing inspiration from Bacon and Grosz. He participated in several editions of the Venice Biennale and the Rome Quadrennial and exhibited his work in numerous solo and group shows in Italy and abroad.

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