Aldo Borgonzoni - Mandina of Medicine

The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the female figure is an expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the female figure has also been a central figure in the new aesthetic concepts brought about by the historical avant-garde, such as Cubism, Expressionism, and Surrealism.

The style of painter Aldo Borgonzoni, in much of his work, is characterized by the development of a strongly expressionist language. The artist seeks to go beyond what is perceived by the senses to extrapolate the true essence of reality and communicate it on canvas in a vibrant and dramatic manner. For this reason, through the application of color, he develops a highly synthesised process that reduces his subjects to dense, material layers of paint, in which the painter's emotion is also a central focus, conveyed through his brutal gestures. All these elements together constitute the expressionistic power of Aldo Borgonzoni's painting. This power is also based on a specific aesthetic choice that reaffirms the dramatic tone of his works, namely, his preference for chromatic impastos that definitively transcend any contact with the sensory, so that the choice of colors is dictated solely by symbolic and spiritual values.

Aldo Borgonzoni was a painter originally from Medicina, where he was born in 1913 and passed away in 2004. After several years working as a goldsmith and engraver, he began to devote himself entirely to painting in 1940. During World War II, he continued to paint, focusing on a series dedicated to the horrors of war. In 1947, he stayed in Paris, where he became interested in neo-Cubist art. Upon returning to Italy in 1948, he painted frescoes in the Salone della Camera del Lavoro in Medicina, curated the exhibition for the Alleanza della Cultura, and, after befriending Guttuso, moved to Rome, where he worked in the Sicilian painter's studio. In 1961, he exhibited at the Grabowsky Gallery in London and in 1964 at the Max G. Bollag Gallery in Zurich. In 1976, he met Paul VI and held a solo exhibition in Zagreb. In 1981, he was invited to exhibit in the exhibition "Eight Masters of Virgil," alongside Giorgi, Guttuso, Manzù, Murer, Moore, Treccani, and Zancanaro. During this period, he worked on a series dedicated to the centenary of the peasant revolts, "La Boje." In 1989, he exhibited in a retrospective at the Casa del Mantegna in Mantua, while in 1991 he worked on the series "Information: the Masks of Power," exhibited at the Circolo Artistico in Bologna. In 1994, he was invited to participate in the exhibition "Bologna- New York Sixty Artists." In 1995, a retrospective was held at the Palazzo del Podestà in Faenza, and at the Milan Triennale, he exhibited in the exhibition "The Reasons of Freedom," dedicated to the Resistance. In 1997, he participated in the exhibition "Iconic Art" at the Galleria d'Arte Moderna in Bologna.

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