Ivo Soli - Seated Man

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.

This work can be considered one of many studies of the human figure conducted by Ivo Soli. In these drawings or sketches, the author's primary interest lies not in the anatomical and physiognomic description of the subject but, rather, in capturing its forms through a highly pronounced sense of plasticity. The subjects' rounded yet synthetic forms express a conception of the human figure that is simultaneously harmonious and monumental, inspired almost by an ordering geometric vision. This can be perceived in the regularity and purity of the forms that compose the figure, as well as in their proportions, regular yet tending to expand. Despite the figure's remarkable plastic definition, the artist employs a highly animated and dynamic style that allows for greater expressiveness in the execution.

Ivo Soli (Spilamberto, July 8, 1898 – Vignola, 1979) was an Italian sculptor. He moved with his family to Vignola, where he was apprenticed in a blacksmith's shop. He then went to study in Modena, but in 1917 he was called up for service in the First World War. After his discharge, he completed his sculpture studies in 1921 and went to Milan to teach sculpture and composition at the Brera School of Art. In 1931 he participated in the first Rome Quadrennial, in 1934 in the Venice Biennale, and again in the 1936, 1940, and 1948 editions. In 1957 he participated in the Third National Exhibition of Sacred Art at the Angelicum in Milan. He also participated in numerous exhibitions throughout Europe.

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