Ugo Attardi - Europe

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 nude is the ultimate 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 nude has also been a central theme in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism. The sculptures of artist Ugo Attardi always begin with a study of the human figure to focus their research on plasticity. However, in Attardi, the nude always takes on a symbolic value, as a humanized representation of a concept.

In this sculpture, Ugo Attardi creates a figure of tremendous expressive power, simultaneously concrete and transcendental. The sitter's sinuous anatomy is reflected in an ostentatious stillness and a formal synthesis that enhances the plastic qualities (there is a certain resemblance to William Blake's figures). The composition is in tune with a perfect spirit of unitary harmony. The figure, in fact, interacts perfectly with the space created by the circle in an aesthetic based on the relationship between figure and geometry (as in Leonardo's Vitruvian Man).

Ugo Attardi, born in Sori in 1923 and died in Rome in 2006, was a painter and sculptor. After beginning his career as an abstract artist, joining the Forma 1 group, in the 1950s he turned to Expressionism, drawing inspiration from Bacon and Grosz. He participated in several editions of the Venice Biennale and the Rome Quadrennial and exhibited his work in numerous solo and group shows in Italy and abroad.

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