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MODERN AND CONTEMPORARY ITALIAN ART - ORIGINAL ITALIAN ART - ITALIAN FINE ART - ITALIAN PAINTERS OF THE 20TH CENTURY

ARTIST: CARLO RICCARDI (OLEVANO ROMANO, 3 OCTOBER 1926)

SUBJECT: ITALIAN COUNTRYSIDE LANDSCAPE - VILLAGE ON A HILL WITH HOUSES - RED ROOFS - WHITE HORSE IN THE GRASSLAND - TREES - A ROAD THROUGH THE COUNTRYSIDE

OIL PAINTING ON CANVAS

SIGNED LOWER LEFT "RICCARDI"

ON THE BACK OF THE CANVAS CARTOUCHE WITH BIOGRAPHICAL AND ARTISTIC ANNOTATIONS OF THE AUTHOR

WORK DATABLE TO THE 1970S, IN WOODEN FRAME, WITH WALNUT-COLOURED BORDERS, GOLD-COLOURED MARBLE-EFFECT GROOVE, BEIGE-COLOURED WOODEN PASSEPARTOUT.

PAINTING AND FRAME IN EXCELLENT CONSERVATION CONDITION.

MEASUREMENTS OF THE PAINTING: CM 70 HEIGHT X CM 50 WIDTH

FRAME MEASURES: CM 84 HEIGHT X CM 64 WIDTH

MODERN AND CONTEMPORARY ITALIAN ART - ORIGINAL ITALIAN ART OF THE SECOND HALF OF THE 20TH CENTURY - ITALIAN PAINTERS OF THE 20TH CENTURY

ARTIST: CARLO RICCARDI (OLEVANO ROMANO, 3 OCTOBER 1926)

SUBJECT: URBAN LANDSCAPE OF ROME - PIAZZA SAN PIETRO - DOME OF THE CHURCH OF SAN PIETRO - VIA DELLA CONCILIAZIONE IN ROME - LANDSCAPE OF ROME WITH HOUSES, FIGURES AND CARS - GLIMPSE OF ROME IN THE 1970S

OIL PAINTING ON CANVAS

SIGNED LOWER LEFT "RICCARDI"

ON THE BACK OF THE CANVAS CARTOUCHE WITH BIOGRAPHICAL AND ARTISTIC ANNOTATIONS OF THE AUTHOR

WORK DATABLE TO THE 1970S, IN WOODEN FRAME, WITH WALNUT-COLOURED BORDERS, GOLD-COLOURED MARBLE-EFFECT GROOVE, BEIGE-COLOURED WOODEN PASSEPARTOUT.

PAINTING AND FRAME IN EXCELLENT CONSERVATION CONDITION.

MEASUREMENTS OF THE PAINTING: CM 70 WIDTH X CM 50 HEIGHT

FRAME MEASURES: CM 84 WIDTH X CM 64 HEIGHT

WORK OF ART FROM AN IMPORTANT PRIVATE COLLECTION IN ROME BY THE MASTER OF THE ROMAN SCHOOL CARLO RICCARDI, DATING FROM AROUND THE 1970S, DEPICTING A LANDSCAPE OF THE ITALIAN COUNTRYSIDE, WITH A HILLSIDE VILLAGE, SOME HOUSES WITH RED ROOFS IN THE BACKGROUND, A WHITE HORSE IN THE FOREGROUND IN THE PRAIRIE AMONG THE TREES.

IN THIS PAINTING WE CAN SEE CARLO RICCARDI'S PERSONAL QUEST TO EXPRESS MOVEMENT, THROUGH UNDEFINED BRUSHSTROKES, BLURRED OUTLINES, CURSIVE HATCHING THAT MAINTAINS THE FRESHNESS AND IMMEDIACY OF THE FIRST IMPRESSION, BACKDROPS THAT OFTEN APPROACH THE FANTASTIC. THE CONVENTIONAL COMPOSITIONAL STRUCTURE SHOULD NOT BE MISLEADING. ALTHOUGH THE LAYOUT OF THE PAINTING IS SUBSTANTIALLY FIGURATIVE AND REALISTIC, FROM A CHROMATIC POINT OF VIEW RICCARDI EXPLORES EXPRESSIONISTIC TERRITORIES BORDERING ON THE NAIVE, WITH DENSE COLOUR MIXTURES, INTENSE AND EXUBERANT COLOURS, WHILE CONCEPTUALLY THE JUXTAPOSITION OF REALISTIC FIGURATIVE ELEMENTS AND OTHERS CHARGED WITH SIMOBOLISM, INTRODUCED IN AN IMAGINATIVE WAY (THE WHITE HORSE IN THIS PAINTING IS NOT THE SIMPLE INTRODUCTION OF AN ANIMATED ELEMENT INTO A NATURAL LANDSCAPE, BUT RATHER THE ELEMENT THAT DISTURBS THE OBVIOUS, THAT DISRUPTS LINEARITY, THE FREE AND UNDISCIPLINED ANOMALY THAT THROWS AN IDYLLIC SCENARIO INTO TURMOIL), ALLOWS THE ARTIST TO PROPOSE A COMPOSITION WHERE SYMBOLISM, ABSTRACTIONISM, REALISM AND INTERPENETRATE AT DIFFERENT LEVELS. THE PAINTING IS OF EXCELLENT ARTISTIC AND CHROMATIC RENDERING. CARLO RICCARDI RECENTLY TURNED 95 YEARS OLD. HIS PAINTINGS ARE RARE, UNOBTAINABLE AND OF THE HIGHEST VALUE. HE WAS AN ICONIC FIGURE IN ROME, PORTRAYED AND DISSEMINATED AROUND THE WORLD LIKE FEW OTHERS. ALL-ROUND ARTIST, CELEBRATED PHOTOGRAPHER AND RADICAL, EXPERIMENTAL PAINTER.

BIOGRAPHICAL AND ARTISTIC BACKGROUND:

Carlo Riccardi (1926) is the first real paparazzo of the 'Dolce Vita'. A friend of Ennio Flaiano, Federico Fellini and Totò, he collected seventy years of Italian history in a large archive. He was born on 3 October 1926 in Olevano Romano. The third of eight children, he moved with his family to Rome in 1932. As a very young man, he worked as a retoucher in a photo-painting studio.

PHOTOGRAPHY

1940 was the year of his professional turning point and the beginning of his artistic career as a photographer. In fact, in those years, he met Saro Mirabella, a friend and fellow countryman of the painter Renato Guttuso; it was in those studios and in that atmosphere that he began to take his first photos. He became passionate about photography and Rome, a stage particularly rich in occasions, presences and situations, offered him all the cues; it was the period of the early years of the Republic, the economic boom, neorealism, the great Hollywood productions, the "Dolce Vita". Carlo Riccardi lived those years as a protagonist, photographing all the famous people who passed through the eternal city: artists, intellectuals, actors, kings and queens. And there in Via Veneto, Via Condotti, Piazza di Spagna, the adventure of the first real paparazzo of the Dolce Vita began, but also the documentation of an era.

Also in the 1950s, he opened the 'Le scalette rosse' gallery (now Spazio5, in Via Crescenzio 99/d in Rome www.spazio5.com) and created the magazine 'Vip'.

In 1951, he worked for 'Il Giornale d'Italia' and the following year for 'Il Tempo'. Riccardi can be called not only 'the man of the camera obscura', but also 'the man of the six Popes', as his mastery as a photojournalist led him to immortalise on photographic film an exclusive papal succession, from Pius XII to Paul VI and John XXIII, from Pope Luciani to John Paul II to Benedict XVI.

PAINTING

Carlo Riccardi is not only a photographer, he is also a painter who does not only indulge in painting as a hobby, but with the same passion and enthusiasm with which he takes his pictures.

In 1978, after the election of Pope Wojtyla, Riccardi painted 25 paintings with Polish landscapes and cities as their subjects. These paintings were later exhibited in the Roman church of St. Pius V, with the exhibition 'Cathedrals in Krakow, homage to the Pope', inaugurated by the pontiff himself.

Particularly attentive to social problems, Riccardi was appointed Secretary General of the Artists' Union, a position he held for almost ten years.

In the summer of 1986, Riccardi illegally 'framed' the obelisk in Piazza del Popolo with a 100-metre-long canvas depicting the most emblematic aspects of Rome.

The 'performance' lasted only a few hours because the city police forced him to remove his masterpiece for lack of visas and authorisation.

Carlo Riccardi is a painter of abstract and figurative pictures, Riccardi paints on any surface. His works push the observer into a new dimension. His own. That 'fifth dimension' that has become a pictorial manifesto signed by more than 50 contemporary artists.

A peculiarity of his pictorial journey is his maxi canvases. One recalls the 80 metres with which he wrapped the Obelisk in Piazza del Popolo in Rome, those exhibited in the Römerplatz Rathaus in Frankfurt, the one in Piazza della Signoria in Florence, in the Cloister of S. Domenico in Siena, in the sea at Lido di Ostia, in the Serpentara forest in Olevano Romano. Famous is the 800 metre-long maxi canvas dedicated to Poland, exhibited in the Nervi Hall in the Vatican and inaugurated by John Paul II. Today, his canvases tour the world and his photographic archive counts over a million negatives that tell and document more than 60 years of Italian history.

The undisputed protagonist of the 'Fifth Dimension' is a 'luminous circle', as Carnac, Dali's historiographer, defined it, which gave life to a true pictorial manifesto, the last Italian pictorial manifesto of the 20th century. "The era of Guttuso seems to be over," declares the author, "those painters who were obscured by negative art criticism are back". In addition to himself, he refers to Carlo Acciari, Ennio Calabria, Giorgio De Chirico, Luigi Montanarini and Sandro Trotti. Among the signatories of the manifesto are artists such as Emilio Greco, Pericle Fazzini, Sante Monachesi, Luigi Montanarini, Sandro Trotti , Suriano, Aldo Riso, David, De Meo, Giuliano Gemma, Alfredo Basurco, Ferdinando Bellorini, Umberto Mastroianni, Gentilini, Gianni Testa, Alessandro Piccinini, Pierre Carnac, Niki Berlinguer, Remo Brindisi etc.

In the Fifth Dimension manifesto, Carlo Riccardi had painted the symbol of the Fifth Dimension (a circle with two parallels) with fluorescent paint, after 40 years in the dark it is still possible to see the fluorescent symbol. The Manifesto has the message 'Bring Man back to the centre of the social world and work'. That is, to bring back the focus on man in the world of art and work. It is in fact a cosmopolitan manifesto for positive contamination, respect for national, international and religious customs. The various characters merge to create artistic and social visions: the Anthropocentrist one to bring humanity back to the centre of its environment, the Cybernetic one to make machines capable of simulating the functions of the human brain more human, the Astral one for a vision of the human being beyond physicality.

Pierre Carnac (Writer and anthropologist -Sorbonne-Paris- Salvador Dalí's historiographer) said of him: 'In 4000 only one painting will recall our time, Carlo Riccardi's luminous circle.

Riccardi began to take his MaxiTele paintings on tour in the 1970s, with the aim of raising public awareness for the appreciation of the immense artistic heritage of the Bel Paese. Among the many exhibitions: the maxi canvas in Piazza delle Signoria in Florence, the Maxi Canvas for John Paul II and unrolled in the Nervi Hall in the Vatican, the one at the Cloister of S. Domenico in Siena, the maxi canvas at the Teatro Impero in Terracina, the maxi canvas displayed at the Raphael Gallery in Romerplatz in Frankfurt. In the summer of 1987, the exhibitions with various Maxi Canvas in Rome at St. Peter's, Castel Sant'Angelo, Piazza Navona, at the Basilica of St. Peter and St. Paul at EUR, under the obelisk of the Foro Italico, in Ostia, and in various Roman suburbs, and with the underwater exhibition in the sea of Ponza, at the Rimini meeting, during the Expo in Milan. And many other exhibitions. In the summer of 1987, Riccardi was the protagonist of an extraordinary initiative realised with the patronage of the Lazio Region: he travelled 5000 kilometres to 'wrap' and 'wrap' with maxi canvases up to 300 metres long, views of Italian towns, landscapes and monuments. In 2016, to celebrate the 30th anniversary of the first exhibition, together with 50 artists and friends he exhibited the Maxi Canvas entitled "Diamoci una mano" (Let's give each other a hand), which was intended as an opportunity to draw attention to the importance of culture as a means of uniting peoples.

Among his most representative exhibitions is the famous "Art Obama", curated and organised by the Quinta Dimensione Institute: sixty paintings dedicated to US President Barack Obama. The works, of particular originality, were created based on the front pages of the major national and international newspapers - from Corriere della Sera to the New York Times - which welcomed the man of "Yes, We Can" during the presidential elections.

In 2017, Rome dedicated a MaxiTela to the Rigopiano incident in memory of the terrible tragedy. In 2018, Carlo Riccardi's MaxiTela participated in the nightly Flash Mob to revive Angelo Mai. Now 95 years old, he continues to remind us of the value and importance of art in everyone's life. Since his 70s, Carlo Riccardi has been addressing an important message to Italian society: 'Bring Man back to the centre'.

PUBLICATIONS

In 2014 he published, personally editing it, the photographic book Sophia Loren - Se mi dice bene (Armando, 2014) as a tribute to the 80th birthday of the great actress. Carlo Riccardi's photos are constantly used to narrate the History of Italy: in recent years he has published: "I tanti Pasolini" (Armando, 2015), "Gli anni d'oro del Premio Strega" (Ponte Sisto, 2016), "Il popolo della Repubblica" (AGR, 2017), "Aldo Moro. Memoria Politica Democrazia" (AGR, 2018), "Italia al Voto. When the web was the street" (AGR, 2019), "Vittorio Bachelet. Gli anni 70 tra speranze e disillusioni" (Poligrafico dello Stato, 2020).

SHIPPING AND INFORMATION ABOUT THE PAINTINGS FOR SALE:

EVERY PAINTING WE PRESENT IS A UNIQUE AND ORIGINAL PIECE. IT IS NOT A COPY OR A REPRODUCTION. FOR SOME PAINTINGS AVAILABLE IN OUR CATALOG WE HAVE CHOSEN TO PUBLISH DIFFERENT LISTINGS OF THE SAME PAINTING, UNIQUE AND ORIGINAL, ON SEVERAL INTERNATIONAL EBAY SITES. WE DO THIS TO OFFER OUR PAINTINGS TO A WIDER AUDIENCE OF INTERNATIONAL VISITORS. BY COMPLETING THE PURCHASE OF THE PAINTING ON ONE OF THESE PLATFORMS, ALL OTHER LISTINGS WILL BE CANCELED AND THE PAINTING WILL NO LONGER BE AVAILABLE FOR SALE.

FOR INTERNATIONAL BUYERS, THERE IS THE POSSIBILITY TO REQUEST THE SHIPMENT OF THE PAINTING WITHOUT THE FRAME, OBTAINING A DISCOUNT ON SHIPPING COSTS. IN THIS CASE, BEFORE PURCHASING YOU CAN CONTACT US TO GET A FINAL ESTIMATE.

ALL PHOTOS ARE MADE WITH PROFESSIONAL CAMERA, TAKING CARE TO FRAME THE PICTURE FROM MORE ANGLES AND DETAILS TO OFFER A COMPLETE VIEW OF THE OBJECT. TO UPLOAD PHOTOS ON THE SITE WE ARE HOWEVER FORCED TO REDUCE THE QUALITY, SO YOU CAN CONTACT US TO REQUEST PHOTOS AND VIDEOS IN HIGH RESOLUTION. SOME SLIGHT DIFFERENCES IN COLOUR MAY BE OBSERVED DUE TO BOTH THE POSITION OF THE PAINTING IN RELATION TO THE LIGHT SOURCES AND THE ELECTRONIC DEVICES USED TO VIEW THE PICTURES (DEPENDING ON THE DEVICE, PICTURES MAY APPEAR SLIGHTLY DARKER OR LIGHTER).

ALL PAINTINGS CAN BE RETURNED IF THEY DO NOT CORRESPOND TO WHAT IS SEEN AND DESCRIBED. THIS IS THE ONLY REASON FOR THE RETURN THAT WILL TAKE PLACE WITHIN 14 DAYS AND WITH THE ORIGINAL PACKAGING.

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TAKING A PAINTING IS A TAKING CARE OF YOURSELF