Ugo Riva - Study for Crucifixion

The sketch is a model of what will become a definitive work, on a smaller scale. In many cases, the sketch can also have very important critical value. It can be useful, in fact, to reveal a more authentic or spontaneous language on the part of the artists, or, in any case, poetics different from those of the definitive works, as in the case of Canova.

The work reflects the rapidity and conciseness typical of a sketch, but also its spontaneity. The brushstrokes are rapid, sketching out the two versions of the Crucifixion, conveying a sense of temporariness. However, the artist's strong personality is evident; despite the sketch's summary, one can note the anatomical precision of the figures and their pronounced plasticity. The colors, with their strong chromatic range, are used expressively.

Ugo Riva, a sculptor from Bergamo, has always favored figurative art throughout his career. Starting with a study of ancient classicism, he developed a masterful technique in the naturalistic rendering of subjects and anatomical precision. His attention later shifted to contemporary sculptors such as Manzù, Arturo Martini, and Marino Marini, developing a quest for expressionist values ​​and a poetics of the "unfinished."

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