On Saturday 11 June, the large retrospective dedicated to the Istrian painter at Warehouse 26 in Porto Vecchio will be inaugurated
TRIESTE. The people, the places, the affections, the friendship, the sea and the wind in Trieste: these are the objects of Livio Rosignano’s painting, with some raids in the Istrian Karst, into his own past history and into some more distant territory, visited in the early 2000- the number. They are also the themes represented in the exhibition “Livio Rosignano. Painting the wind ”which opens on Saturday 11 June at 7 pm, on the first floor of Warehouse 26, in Porto Vecchio: the first retrospective after the artist’s death, which took place in Trieste in 2015.
Marketed by the Association of the Istrian Communities of Trieste in co-organization with the municipality of Trieste, it is curated by Marianna Accerboni and presents about a hundred works, including seventy oil paintings, including large, included over a period of time ranging from kl. 1943 to 2014. The most distant paintings can be recognized for a denser and more defined brushstroke, for the more vivid and contrasting colors, where the artist’s most typical style is found in the skill of a distinct tonal painting, capable of mixing color and light through precious shades played mainly in the cold color scales, with a strong suggestive imprint.
Born in Buzet, Istria, 1924, the artist had already moved with his family to the Julian capital as a child. While studying at the Nautical Institute, he became passionate about drawing, encouraged by the painter Giovanni Giordani. He begins to visit the artistic environment in Trieste at the time animated by Adolfo Levier, Romano Rossini and Vittorio Bergagna with whom he shares a studio in San Giusto for a certain period and which he depicts in a painting from the first years present in the exhibition. He follows Edgardo Sambo’s nude drawing courses at the Revoltella Museum and thus learns the engraving technique from Carlo Sbisà at Popular University.
In search of more stimulating contacts and contexts, he goes to Milan without ever really thinking about being able to leave Trieste. The confrontation with the Lombard clarifiers will make his imagery develop.
With a few characters and quick brushstrokes, Livio Rosignano was able to grasp an attitude, a person’s character, a situation, the atmosphere and the truth in an instant, of an environment, seen and etched in his memory. Along the exhibition path at Lager 26 it is possible to look at “Barcola from above”, the “terminal” on a bus, a subway again and again, the interior of a “workshop” or a public office with the line of people “At the counter”. An empty Caffè San Marco, with a vaguely metaphysical taste, appears next to the inside of Caffè Tommaseo, which is only alluded to with a hint of some details in its architecture. The size of Caffè Milano is instead told by the profile figure of its tired waiter, while beyond the window curtain overlooking the street you can glimpse the artist himself who walks by, as Alfred Hitchcock liked to do with his quick appearances in his films. movies.
There is no shortage of shocks into the painful experience dduring the deportation, testified by the painting “Winter in Dachau 1944” (made in 2001) or the affection of the “poor Christians” who wander in search of a piece of bread in the historic district called “Vatican Square”, in the San Giacomo district, where the artist himself had lived. A special space is dedicated to the drawings, among which you can see a loving portrait of his wife, in bed while reading, and some landscapes in Brazil where the painter went in 2001.
There are also some engravings, publications related to Rosignano’s critical and literary works, catalogs, photographs that portray him at different moments in his life. As part of the exhibition, which will be open until July 10, guided tours and painting, drawing and drawing workshops will be organized for adults and children, with the establishment of the prize “The most beautiful landscape in the world” (info +39 3356750946).