Ugo Attardi, 1980s, Lithograph, Framed

1980s Italian Signed Numbered and Dated Original Work on Paper
This is a wonderful colour lithograph entitled ‘Scorcio di Roma con profilo femminile’ (View of Rome with female profile) by Italian artist Ugo Attardi (1923-2006).
The work is a graphic print on paper, a figurative work of art depicting a nude female figure in the foreground with a view of Rome, including St. Peter's Basilica, in the background.
Our beautiful example is hand-signed in pencil by the artist, numbered 22/100 and dated 1984.
This beautiful and elegant work is characterised by its elements of expressionism and cubism, with a complex composition and the use of multiple perspectives.

This artwork, never before on the market, comes from an important Italian private collection and is beautified by an impressive original frame in gilded wood, in almost perfect condition.

The artwork is also protected by glass

Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts.

Our company has been present on this platform for many years, with numerous sales made and just as many excellent reviews received that you can under our Furniture account.

Ugo Attardi (Sori, 12 March 1923 – Rome, 20 July 2006) was an Italian painter, sculptor and writer.
ways
He was born in the province of Genoa.
His father, a trade unionist and active member of the “Federazione dei Marittimi” (Seafarers' Federation), originally from Santo Stefano Quisquina, a small village in the province of Agrigento, was forced by the
fascist regime to leave Liguria and return to Sicily.
His mother was Natalia Attardi Donnini
After moving with his family to Palermo, intrigued by painting and its techniques, he began attending the
Academy of Fine Arts and later the Faculty of Architecture.
In 1945 he moved to Rome, where he was hosted by Pietro Consagra
Rome, staying with Pietro Consagra, who was himself a guest of Renato Guttuso.

The climate of cultural and civil initiatives in the post-war period allowed him to resume his research with enthusiasm. In 1948, together with a group of young artists, he founded the abstract movement Forma Uno, but his views diverged from those of the rest of the group.
His companions were Carla Accardi, Antonio Sanfilippo, Pietro Consagra, Piero Dorazio, Mino Guerrini, Concetto Maugeri, Achille Perilli and Giulio Turcato.
In 1948, he participated in the National Exhibition of Figurative Arts (V Quadriennale Nazionale d'Arte) in Rome.
In the early 1950s, he turned his art towards expressionism, drawing inspiration from Francis Bacon and George Grosz, among others, combining his artistic activity with political commitment within the Italian Communist Party.
The need to experiment with a new and visionary relationship with reality led him to move away from abstractionism and study his own form of expressionism.
In 1952 and 1954, he was invited to the 26th and 27th Venice Biennales.
In 1956, despite the crisis of realism, he exhibited successfully in a gallery in Trastevere.
In 1958, he participated in the founding of the cultural and political newspaper Città Aperta and began collaborating with it, together with Tommaso Chiaretti, Elio Petri, Renzo Vespignani and Mario Socrate. In the early 1960s, he participated in numerous exhibitions both in Italy and abroad.
In 1961, he founded the group Il Pro e il Contro, leading all the events until the last year, when it was dissolved.
In 1963, one of his works was exhibited at the Contemporary Italian Paintings exhibition, held in several Australian cities.
In 1963-64, he exhibited at the Peintures italiennes d'aujourd'hui exhibition, held in the Middle East and North Africa.
A trip to Spain led him to rediscover the classics and deepen his historical studies.
In 1974, he created the banner for the Palio di Siena on 16 August.
In 1986 and 1987, he exhibited at the ICAF in London and at the International Exhibition of Contemporary Art in Milan.
In 1988, his works were exhibited in Tokyo.
In 1997, Telecom chose one of his works as the image for a telephone card.
In 2003, the Presidency of the Council of Ministers of the Republic awarded him the Prize for Culture in the Arts, an institutional recognition aimed at highlighting the figures and works of great artists and cultural personalities.
In 2006, he received the title of Grand Officer of the Republic from President Carlo Azeglio Ciampi for his artistic merits and for having been able to spread and promote Italian genius and creativity throughout the world.
At the end of the 1960s, he worked on his novel L'erede selvaggio (The Wild Heir), published in 1970, which won him the 1971 Viareggio Prize in the fiction category.
In 1967, he began a remarkable career as a sculptor: after the bas-relief Addio Che Guevara (Farewell Che Guevara) in 1968, he worked on several wooden groups, including L'arrivo di Pizarro (The Arrival of Pizarro) from 1968-71, and on very enigmatic and sensual bronzes, including La Maga (The Sorceress) from 1974.
In the spring of 1973, at the request of local political figures, he painted a monumental fresco (three and a half metres high and over ten metres long) entitled La nuova Somalia (The New Somalia) in the new Parliament building in Mogadishu. The work was later destroyed during the war.
Attardi also created important public works, including the group Il vascello della Rivoluzione (The Ship of the Revolution), a tribute from the Italian government to the French state on the bicentenary of the storming of the Bastille.
It was temporarily exhibited in Paris and permanently installed in the EUR (Rome) near the Palazzo dello Sport, I sogni del re normanno (The Dreams of the Norman King) inside the new international airport of Palermo, En las Americas in Avenida 9 de Julio in Buenos Aires, Ulysses in Battery Park in New York, Christ acquired by the Vatican Museums, and Aeneas, donated to the people of Malta and placed at the entrance to the port of Valletta.
In 1983, the Centre Georges Pompidou in Paris dedicated an exhibition and a ballet inspired by his works to him.
In 1986, he exhibited a polychrome wood sculpture from 1984, La Cantante, at the XI Quadriennale in Rome. In 1987, he created the monument “Per la libertà” (For Freedom), commissioned by the UIL trade union.
In 1989, he created the commemorative bust of Teresa Gullace (martyr of the resistance), which is still on display in the atrium of the Liceo Scientifico di Roma.
In 1987, a selection of his drawings was chosen by Newton Compton to embellish the anthology of poems by Emily Dickinson.
In March 2003, he took part in the travelling group exhibition “Giochi Olimpici” (Olympic Games) at the Royal Palace in Naples, which moved to Athens in June, to the Museum of Cycladic Art, and in October to Venice, to the Church and Scuola Grande di San Giovanni Evangelista.



Dimensions are frame included