Renato Bertoloni (1924-1986) The Cherry, 1967

Renato Bertoloni (1924-1986) The cherry, 1967, oil on stucco panel, cm 67 x 110.
Signed top left

Exposition:
Mostra personale riassuntiva di Renato Bertoloni, Teatro Regio, Parma, 28-10-20-11-2021;
Mostra personale di Renato Bertoloni, Il Vertice galleria d'arte contemporanea, Milano, 15-02-05-03-1967

Provenance: Milano, Galleria Schettini

He discovers his artistic vocation as a child and enrolls at the Academy of Brera where he follows the courses of Aldo Carpi and 'Achille Funi. He obtained the Brussadelli scholarship which allowed him to settle in Paris where he took a sculpture course directed by Zadkine at the Académie des Beaux-Arts. He frequents Severini's studio with whom he shares neo-cubist research which will have an important part in his artistic and cultural training.
For eight years he lived outside Italy, painting and exhibiting assiduously. He has won numerous awards and distinctions, both at home and abroad. Its participation in the collective exhibition organized in the salons of the "Friends of France" alongside De Pisis, Carrà, Morandi, Sironi, Campigli is important. He alternates his stays in Paris with the participation in Italian group exhibitions. In 1951 he won the S. Fedele prize for young artists and in 1952 he won the first national prize with the opera The Balalaika Player. The same year, he left Paris to stay in London and Brazil. In 1960, he won two national “City of Busseto” prizes and in 1962 he joined the Galerie Bernheim Group in Paris.
The following year, the gallery itself organized an important personal exhibition for him. At the same time, he participated in the biblical exhibition organized in the rooms of the Royal Palace in Milan with the work Lotta between Jacob and the Angel. In 1966 he won a prize at the national exhibition held at the Milan Clinical Institutes on the topic of motherhood. In 1967, the Il Vertice gallery organized a personal exhibition for him and an anthological exhibition was set up at the Teatro Regio in Parma. Rejecting academic painting, and the delicate colourism of the 19th century, his canvases are characterized by the large format and the violent arrangement of pure colors. As the artist himself states: "... It is very difficult to connect countless pure colors in a single painting, just as it is just as difficult to solve a great work ...". Critics often speak of him. Leonida Repaci writes: “… In Bertoloni's paintings, everything that has passed from the Impressionists to the present day seems historically reproposed to have proof that all pictorial civilizations have occult connections, the consequences of which are not always determined by the premises. At Bertoloni, there is a coexistence of different artistic eras and even opposed over time ... ". Eva Tea, for her part, declares:" ... Bertoloni does not compose, he invents; and his invention has sources unexpected, that only he can discover for us ... "

The painting is in good condition.

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