Sergio Ughi - Madame Bovary

The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the female figure is an expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the female figure has also been a central figure in the new aesthetic concepts brought about by the historical avant-garde, such as Cubism, Expressionism, and Surrealism.

In this female figure, inspired by one of the most popular literary characters, we can appreciate how painter Sergio Ughi's style is based on a perfect expressive balance between naturalistic rendering and coloristic synthesis. Indeed, the female figure appears in all its naturalness and anatomical truth, thanks to the artist's flawless technique, which manages to depict the character with truth and a sense of plasticity. The figure is softened by the light and, therefore, appears alive and vibrant in its existence in space. At the same time, however, the artist also achieves a marked formal synthesis: the pictorial approach becomes more expressionistic. The vaporous brushstrokes transfigure the subject, who now seems to dissolve into the color and chromatic matter, achieving a highly lyrical and evocative representation. The figure thus blends perfectly into the decontextualized space, where even the background is constructed through a highly dynamic and expressive approach.

Sergio Alessandro Ughi was born in Ferrara in 1951. Having moved to Lombardy as a child, he currently lives and works in Castelleone, in the province of Cremona. After about twenty years, he returned to Ferrara to exhibit, presenting, among other works, the work "Il Bianco Abbandona." Lucio Scardino, in his critical introduction to the exhibition, described the artist's works as "metaphors centered on the contrast between lofty idealism and brutal everyday life, which are simultaneously tragic fables and poetic symbols." Meanwhile, on February 8, 2002, in the newspaper "Il Resto del Carlino," Gabriele Turola wrote: "The Ferrarese artist, drawing on the great lesson of the English Pre-Raphaelites and the French and Italian Symbolists (Moreau, Sartorio), investigates the most secret aspects of reality, using his brushes as in a sort of X-ray, to transform his figures into emblematic characters who play with Destiny (see "chess game") and the spaces that surround them into theatrical wings with a magical and ironic flavor....".

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