115:
179:
104:: Romano Rizzato's earliest work was done, on the one hand his interest in architecture and in the human figure, and on the other, his commitment to illustration for publishing. The decision to paint views, was certainly inherited from an early twentieth century tradition and from postwar movements that sought to qualify urban suburbs as subjects for painting. Both in his portraits and in his illustrations, Rizzato is primarily concerned with the theatrical effect which the presentation.
214:
152:, already present in a number of works done in earlier years, acquired, due also to the dimensions handled in certain installations, a physical and environmental quality. This was the most rigorous point in the design of his work, from the formation of a module, to the ultimate identification of a rhythmic trail blazed by the repetition of an identical figure, sprang from the overlapping of different grids on the field's initial score.
32:
168:: this working period is important in the trajectory that we have identified, because to the simplified form is added a lowering of the colour contrast between the background and the figures on it. Rizzato took up drawing again as a workshop open to diverse solutions, a feature of his work that was also to become in any case decisive in its subsequent stage.
56:
174:: the examples illustrated are for the most part papers, and smaller, which Rizzato produced and collected into a sort of memorandum to be used in more challenging future works. Compared to an earlier stage, the focus is now shifted to a less detailed division of the field, enabled to accept a more synthetic pace and rhythm.
199:: the further passage tested by Rizzato includes the adoption, of the curved line, in a semicircle, which contradicts the straight line that had until then dominated the pictorial stage. The effect of succession and description, is now achieved in a substantial continuity suggested by the borderline of the figures.
193:: the work documented here stems from experimentation with new materials and tools, professionally used for the purposes of illustration. This further development of his work decisively reveals a loss of that homogeneity, in favour of a gradation which introduces the optical effect of three-dimensionality.
158:: the expressive route taken by Rizzato, too underwent in this period a significant reduction of the evidence accorded to a plastic solution. In this phase Rizzato reduced its complexity, by increasing the differences in the size of the cuttings and invading the whole field. In this way a disciplined,
110:: the use of a particular technique, very much at home with the tools used for the creation of his images, and in the experimentation with the techniques best suited to the work to be done. Are significantly affected moreover, by his frequent visits to the studio of Mario Radice.
137:
research. Rather than in the instability and iridescence of a figure, Rizzato is always more interested in its architectural nature. And one of the fruits of his collaboration with Miro
Cusumano was their combined creation, in 1968/69, of the work,
129:: this was the period in which the image found its constructive rule, a module repeated and gradually clarified in a series of drawings. The choice of two colours is the reference to the European experiments in
465:
619:
209:
of the arts of narrating and deluding, and also of emphasizing the three-dimensional effect and consequently of hiding the regularity of the weft.
594:
609:
270:(1974) project for the L.A. Middle School Muratori Vignola (MO), on oven-baked white sheet metal measuring 10 meters per side overall.
604:
178:
589:
162:
progress is exalted in a musical sense between the time of its appreciation and the physical space of the composition.
313:
451:
599:
213:
148:: in this phase Rizzato studied the possibility of an iteration which could invade architectural space. The title
55:
479:
437:
614:
114:
81:
He has exhibited works in
Switzerland, Holland, France, Germany, Bulgaria, Austria, Venezuela and Japan.
284:(1968β69) work by Rizzato in collaboration with Miro Cusumano, in relation to the research of the 1960s
256:(1973), developed by the musician Sergio Maltagliati is read as a musical score and played through the
584:
245:
at the Studio di
Fonologia of Florence in 1965), combined as suggested by the calligraphy of the
234:
385:-review of Italian illustration for children-ed. Ministry of Cultural Heritage-Bologna, 1980.
276:
in white
Carrara marble, made in the Nicoli art studio in Carrara, private commission (1972).
249:(graphic work) of Rizzato, realizes a inspired by his optical-kinetic period of the 60sβ70s.
578:
242:
535:
45:
31:
423:
493:
376:
369:
In these days he exhibits at the
Salotto β True abstractionism by Romano Rizzato
134:
130:
78:
He has been active with personal exhibitions (present in museum collections).
52:. At the same time he began his training in the field of abstract painting.
521:
68:
549:
72:
260:
generative music software. The first performance takes place at the
92:) he experiments and applies different techniques for illustration.
507:
212:
113:
54:
25:
49:
566:
205:: this interval seems to me to have coincided with a further
312:
catalog raisonnΓ©, ed. Bandecchi e
Vivaldi Editori, 2008.
71:
where he has his studio in an isolated rural place near
28:, 21 August 1936) is an Italian painter and illustrator.
329:
ed. Contemporary Art Center β Gianfranco Bonomi, 2003.
197:1995β2001 Trompe- lβΕIL β Gradation, Curved Figure
305:Museo Parisi-Valle ed. Comune di Maccagno, 2011.
341:Bargellini Museum Permanent Collections Catalog
522:"Battimenti 2.5 by Grossi-Rizzato-Maltagliati"
350:ed. Cultural association arte struktura, 1996.
8:
172:1986β1989 Further Simplification of the Grid
536:"originale Beat acoustics by Pietro Grossi"
362:Romano Rizzato-The figure and the materials
403:Universal Encyclopedia of Modern Painting
241:, from 395 to 405 (the same ones used by
102:1952β1960 Landscape, Figure, Illustration
177:
30:
415:
166:1976β1985 Lowering the Colour Contrast
7:
357:ed. Permanent Museum of Milan, 1995.
146:1969β1974 Seriality Module / Nucleus
48:and began to frequent his studio in
67:He lives and works in Milan and in
390:Yearbook of Italian Visual Artists
59:Mario Radice with Rizzato gallery
14:
620:20th-century Italian male artists
336:Treffunk Kunnst β Germania, 2002.
550:"S.G / V by Rizzato-Maltagliati"
203:2001β2008 Updated to the Present
268:Compenetrability and Sequences
191:1990β1995 Trompe lβΕIL-Shading
1:
595:20th-century Italian painters
466:"Fondazione Ragghianti Lucca"
355:Paths of abstraction in Milan
156:1974β1977 Simplification Grid
610:Italian contemporary artists
332:Beate Reifenscheid-Ronnich
264:in Pescia in November 2016.
44:In 1959 he met the painter
636:
494:"CAMeC's La Spezia museum"
438:"Mario Radice on Rizzato"
397:Contemporary Art in Italy
570:(in Italian and English)
480:"Apollonio Umbro museum"
405:V volume ed. Seda, 1970.
296:Art itineraries in Italy
88:(under the pseudonym of
343:ed. Bora Bologna, 2001.
322:ed. Bora Bologna, 2004.
508:"Rizzato illustration"
392:ed. Seletecnica, 1972.
221:
186:
183:Scorrimenti Incrociati
122:
64:
36:
35:Romano RIzzato in 2019
605:Italian male painters
334:Fugues and Variations
327:Geometric Watercolors
320:True sun light of art
298:ed. Rubbettino, 2016.
233:(2019), the musician
216:
181:
127:1965β1969 Optical B/W
117:
108:1960β1967 Egg Tempera
58:
34:
452:"Parisivalle museum"
399:ed. Presenza, 1971.
375:del 27 marzo 1983.
339:Giulio Bargellini
218:Linee Ascendenti IV
16:Italian illustrator
590:Artists from Milan
424:"Artist biography"
353:Flaminio Gualdoni
325:Rossana Bossaglia
318:Giorgio di Genova
294:Giorgio Di Genova
274:Sculpture Fountain
258:autom@tedMusiC 2.0
235:Sergio Maltagliati
222:
187:
123:
65:
37:
600:Abstract painters
388:Mario Monteverdi
348:Art builds Europe
303:Acquisitions 2011
239:sound frequencies
627:
571:
554:
553:
546:
540:
539:
532:
526:
525:
518:
512:
511:
504:
498:
497:
490:
484:
483:
476:
470:
469:
462:
456:
455:
448:
442:
441:
434:
428:
427:
420:
371:, pubblicato su
310:Works(1952β2008)
262:Gallery Civico 8
225:Special Projects
635:
634:
630:
629:
628:
626:
625:
624:
575:
574:
569:
563:
558:
557:
548:
547:
543:
534:
533:
529:
520:
519:
515:
506:
505:
501:
492:
491:
487:
478:
477:
473:
464:
463:
459:
450:
449:
445:
436:
435:
431:
422:
421:
417:
412:
383:Matite Italiane
381:Paola Vassalli
346:Giorgio Segato
291:
227:
98:
42:
17:
12:
11:
5:
633:
631:
623:
622:
617:
612:
607:
602:
597:
592:
587:
577:
576:
573:
572:
562:
561:External links
559:
556:
555:
541:
527:
513:
499:
485:
471:
457:
443:
429:
414:
413:
411:
408:
407:
406:
400:
395:Franco Sossi
393:
386:
379:
365:
358:
351:
344:
337:
330:
323:
316:
306:
301:Claudio Rizzi
299:
290:
287:
286:
285:
278:
277:
271:
265:
250:
226:
223:
211:
210:
200:
194:
176:
175:
169:
163:
153:
143:
112:
111:
105:
97:
94:
41:
38:
22:Romano Rizzato
15:
13:
10:
9:
6:
4:
3:
2:
632:
621:
618:
616:
615:Living people
613:
611:
608:
606:
603:
601:
598:
596:
593:
591:
588:
586:
583:
582:
580:
568:
567:Personal Site
565:
564:
560:
551:
545:
542:
537:
531:
528:
523:
517:
514:
509:
503:
500:
495:
489:
486:
481:
475:
472:
467:
461:
458:
453:
447:
444:
439:
433:
430:
425:
419:
416:
409:
404:
401:
398:
394:
391:
387:
384:
380:
378:
374:
370:
367:Mario Radice
366:
363:
360:Alberto Veca
359:
356:
352:
349:
345:
342:
338:
335:
331:
328:
324:
321:
317:
315:
311:
308:Alberto Veca
307:
304:
300:
297:
293:
292:
288:
283:
280:
279:
275:
272:
269:
266:
263:
259:
255:
251:
248:
244:
243:Pietro Grossi
240:
236:
232:
229:
228:
224:
219:
215:
208:
204:
201:
198:
195:
192:
189:
188:
184:
180:
173:
170:
167:
164:
161:
157:
154:
151:
147:
144:
141:
136:
132:
128:
125:
124:
120:
116:
109:
106:
103:
100:
99:
95:
93:
91:
87:
82:
79:
76:
74:
70:
62:
57:
53:
51:
47:
39:
33:
29:
27:
23:
19:
552:. 1973β2016.
544:
530:
524:. 1965β2019.
516:
502:
488:
474:
460:
446:
432:
418:
402:
396:
389:
382:
373:La Provincia
372:
368:
361:
354:
347:
340:
333:
326:
319:
309:
302:
295:
289:Bibliography
281:
273:
267:
261:
257:
253:
246:
238:
230:
217:
206:
202:
196:
190:
182:
171:
165:
159:
155:
149:
145:
139:
126:
119:Composizione
118:
107:
101:
89:
85:
83:
80:
77:
66:
60:
46:Mario Radice
43:
21:
20:
18:
585:1936 births
135:kinetic art
131:optical art
86:illustrator
579:Categories
410:References
282:Interata 1
231:Battimenti
140:Interata 1
61:Il Salotto
252:The work
207:polishing
185:(1993β94)
63:Como 1983
40:Biography
377:articolo
237:uses 11
160:rhythmic
150:Percorso
538:. 1965.
510:. 2000.
496:. 2008.
482:. 1995.
468:. 1990.
454:. 2011.
440:. 1983.
364:, 1991.
254:S.G / V
69:Tuscany
220:(2005)
121:(1967)
90:Sergio
84:As an
73:Pescia
247:score
96:Works
26:Milan
133:and
50:Como
314:pdf
581::
75:.
426:.
142:.
24:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
