Sergio Romiti (Bologna 1928 – Bologna 2000) - "Composizione" 1987, e "Composizione" 1987
Technique: Disegno a matita
Signature: Hand signed
Two particular drawings, in excellent condition, by this important Bolognese painter.
His art uses the metaphor of the object as a pretext: the object of observation is proposed again in the works filtered by a mental dimension that prevails over what is considered a starting point. The re-proposed object is as if distilled and presented with an acidic perfume, which synaesthetically renders the dissolving attack perpetrated on the object.
His entry into artistic life dates back to 1947, while his definitive artistic baptism in 1948 when he exhibited at the First National Exhibition of Contemporary Art in Bologna. An important exhibition because all the artists of the middle generation participate (Birolli, Guttuso, Cassinari, Corpora, Afro, Santomaso, Vedova, Mirko, Fazzini, Minguzzi) and even more so because it serves as a pretext for a sensational stance by Togliatti against modern art as a type of art that does not correspond to the ideal of socialist realism. After this criticism the artists are divided: those who want to save what can be saved - like Guttuso - and those who want to claim the right - like the Forma Group - to be members of the party but to express themselves in a new way. Romiti does not take a position, having neither realist nor abstractionist claims, nor being a member of the party. The following year he exhibited at the Galleria del Secolo in Rome with Vacchi and Barnabè. In 1954 he won a purchase prize at the second edition of the Spoleto Prize.
He remained at the forefront of the Italian art scene and obtained his own personal room at the Venice Biennale in 1960. After the 1960s he took his artistic path to its extreme consequences.
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Technique: Disegno a matita
Signature: Hand signed
Two particular drawings, in excellent condition, by this important Bolognese painter.
His art uses the metaphor of the object as a pretext: the object of observation is proposed again in the works filtered by a mental dimension that prevails over what is considered a starting point. The re-proposed object is as if distilled and presented with an acidic perfume, which synaesthetically renders the dissolving attack perpetrated on the object.
His entry into artistic life dates back to 1947, while his definitive artistic baptism in 1948 when he exhibited at the First National Exhibition of Contemporary Art in Bologna. An important exhibition because all the artists of the middle generation participate (Birolli, Guttuso, Cassinari, Corpora, Afro, Santomaso, Vedova, Mirko, Fazzini, Minguzzi) and even more so because it serves as a pretext for a sensational stance by Togliatti against modern art as a type of art that does not correspond to the ideal of socialist realism. After this criticism the artists are divided: those who want to save what can be saved - like Guttuso - and those who want to claim the right - like the Forma Group - to be members of the party but to express themselves in a new way. Romiti does not take a position, having neither realist nor abstractionist claims, nor being a member of the party. The following year he exhibited at the Galleria del Secolo in Rome with Vacchi and Barnabè. In 1954 he won a purchase prize at the second edition of the Spoleto Prize.
He remained at the forefront of the Italian art scene and obtained his own personal room at the Venice Biennale in 1960. After the 1960s he took his artistic path to its extreme consequences.
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Time, Location
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