Fausto Maria Liberatore - Untitled

Regarding subjects depicting the artist himself in his studio or at work, we can begin with illustrious examples dating back to the 17th century, coinciding with the growing awareness of the artist's role: we can cite Vermeer's "The Artist's Studio" or Velázquez's "Las Meninas." This type of subject also enjoyed some success in the 19th century, with the advent of realist movements in European art history, and the most famous example remains Gustave Courbet's "The Artist's Studio."

Even in such a minimalist work, characterized by a simplicity of expressive means, we can admire the distinctive features of Fausto Maria Liberatore's artistic language. This drawing, too, is distinguished by a certain exaltation of plasticity. What makes this work extraordinary is that Liberatore achieves this exaltation of plasticity with simple expressive means. With just a few lines, the artist emphasizes the subject's volumes, simultaneously endowing it with a certain physiognomic and expressive characterization.

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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