Claudio Bonichi - Chiaretta in the blue jumpsuit

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 human figure is an expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations typical of the Renaissance and various classicisms, which aimed for a truthful and detailed representation, the human figure has also been a central theme in the new aesthetic concepts brought about by the historical avant-garde, such as Cubism, Expressionism, and Surrealism.

Claudio Bonichi's style, in his still lifes and nudes, always tends toward a distinctive hyperrealism. Indeed, the artist's desire to objectively and lucidly convey the sensory data before his eyes is evident, so much so that his work is considered metaphysical. The artist also demonstrates an extraordinary technique, reminiscent of the Renaissance and Flemish painting, in the precision with which he reproduces various materials and the effects of light falling on them. Despite their objective clarity and while avoiding overly accentuated atmospheric effects, Bonichi's technique naturally inserts objects into space, with a continuity and indefiniteness of contours. Bonichi is a master of the effects of soft lighting that create the decontextualized space that accommodates his minimalist subjects.

Claudio Bonichi was born in Novi Ligure in 1943 and passed away in Rome in 2015. A leading figure in the long period of New Metaphysics, his works are exhibited in museums such as MuMi – Museo Michetti in Abruzzo, the Villa Torlonia Museums in Rome, and the Museo d'Arte dello Splendore in Giulianova. In 2012, France honored him with a remarkable exhibition, curated by Marco Bussagli, at the Musée du Montparnasse, retracing the journey of a great family of artists: his uncle Gino Bonichi, better known as Scipione, a leading figure in the Roman School in the early 1930s; and his maternal grandfather Eso Peluzzi, another important painter of the early 20th-century Italian art.

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