Enrico Lombardi - My Intimate Joy

Painter, writer and art critic, Enrico Lombardi trained at the Academy of Fine Arts in Bologna and dedicated himself to an intense productive, exhibition and theoretical activity that can be traced back to his active participation in the Eclissi group of Forlì in the early 1980s. Among his numerous group exhibitions, we recall: “First Mediterranean Biennial” in Barcelona (1985); “Paintings. Feeling and Form” in Treviso and Bologna (1996); “The First Biennial of Fantastic and Marvelous Figuration” in Poppi (1997); “Sui generis” at the PAC in Milan (2000); “Urban landscape” at the Carrousel du Louvre in Paris (2005). Among his solo exhibitions, we note those at the Wimmer Gallery in Montpellier (1999); at the Art Bank Gallery in London (2005); in Ravenna (2009); in Bagnacavallo (2011); in Marina di Ravenna and Piacenza (2012); at the City Museum of Rimini (2013); in Lugo (2014). The Forni Gallery in Bologna, the Blackheath Gallery in London and the Nuovospazio Artecontemporanea Gallery in Piacenza are interested in his work, as are critics such as Alessandro Riva (who invited him to be part of the “Italian Factory” group for the new Italian figuration and to the exhibitions “The new Italian art scene” at the Taipei Museum in 2007 and “CrossOver” at the Arsenale in Venice in 2013), Vittorio Sgarbi (who invited him to the exhibition “Italian Art 1968/2007. Painting” in Milan in 2007), Marco Goldin (who invited him to “Pittura d'Italia” in Rimini in 2009 and to the exhibition “Around Vermeer. Faces, light, things” on the occasion of the exhibition of the Dutch master's works in Bologna in 2014), Marco Di Capua, Claudio Spadoni, Nicola Micieli and Michele Loffredo. In 2011, nominated by philosopher Carlo Sini, he participated in the 54th Venice Biennale, in the Italian Pavilion at the Corderie dell'Arsenale. He maintained relationships and collaborated for years with philosopher Rocco Ronchi and other intellectuals such as Carlo Sini, Fulvio Abbate, Umberto Fiori, Silvia Lagorio, Federico Leoni, and Edoardo Albinati. A singularly linear painter, Enrico Lombardi has chosen a few figurative themes as his preferred subject matter (cypresses, maritime pines, hills, simple farmhouses resembling country churches, timeless walls and chimneys) and has increasingly narrowed his already sparse palette. At times, his landscapes seem like modern renditions, sifted through by a Metaphysical art re-emerged from a bleaching bath, of the crisp panoramas of the late fourteenth or early fifteenth-century Italian art; at other times, however, they break up freely in space or convey the impression of mysterious shadows. Between veristic renderings and unlikely accentuations, his works, increasingly formally impeccable, appear as investigations into certainly untimely archetypes that become symbols of distance and loss: in a dimension of suspended and unreal time.

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