Fausto Maria Liberatore - Untitled - CDIO001

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the subject depicted, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation.

The work is quite exemplary of Fausto Maria Liberatore's conception of the female figure. His style tends toward expressionist, in the sense that the artist achieves a certain reduction and abstraction of physiognomic details in favor of the rhythm of the composition, which in Liberatore always proceeds through broken and angular lines. Despite this, this painter consistently emphasizes plasticity. The figure in profile, in fact, has a concrete mass, and its volume creates its own space. From a technical standpoint, we can observe how Liberatore's elegant graphic style modulates the hatching to create more or less deep shading.

Fausto Maria Liberatore was born in Lucca in 1922 and passed away in Lido di Camaiore in 2004. He learned the essential elements in the studio of the painter and sculptor Codino and continued painting throughout the war years, until the Liberation. Immediately after the war, Liberatore met the writer Enrico Pea, who would become his mentor and friend. Through Pea, he enriched his cultural interests: he came into contact with Carrà, De Grada, and Treccani, who organized his first major solo exhibition in Milan. His artistic activity became increasingly intertwined with his commitment to participating in the country's political and civil life, so much so that in 1958 he was elected to parliament for the then PCI. In 1963, he freed himself from his most burdensome political commitments and devoted himself to painting.

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