Riccardo Tommasi Ferroni - The Artist's Studio

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."

Throughout his artistic career, Riccardo Tommasi Ferroni advocated a return to figurative art, which he always interpreted with a lucid, objectifying realism. Realism and objectivity are key elements in this canvas, but, as we see in other works, Tommasi Ferroni adds a line-based design that leaves a sense of incompleteness and enriches the work expressively. The artist thus triggers a sort of metaphysical interplay between the incompleteness of the canvas depicted on the easel at the center of the work and the incompleteness of the work itself. Everything is informed by a rationalist interpretation, typical of Tommasi Ferroni's style, and as can be perceived from the ordering intent of the perspective box within which the work's space is constructed.

Riccardo Tommasi Ferroni, born in Pietrasanta in 1934 and passed away in Pieve di Camaiore in 2000, came from a family of artists: his father Leone and his brother Marcello were sculptors. Riccardo's career began with his move to Rome, and between the 1960s and 1980s, his success grew as he exhibited in Italy and abroad. In 1965, he participated in the Rome Quadrennial and the Paris Biennial. In 1982, he exhibited at the Venice Biennale. A staunch advocate of a return to figurative art and the Italian pictorial tradition, his influences included, in particular, Caravaggism, Mannerism, and Baroque painting.

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