Ferdinando Bellorini (1913–2011) - Scorcio di paesaggio

Ferdinando Bellorini (Laveno-Mombello, 2 November 1913 – Toscolano Maderno, 19 November 2011) was an Italian painter and one of the representatives of the so-called Roman School.

Oil painting on canvas depicting a landscape scene. The painting is signed in the lower left corner: "Bellorini"
On the back are listed: the date of the painting, the title of the painting, and the authentication by Countess Cerasi from 1965. (Just below the upper crossbar of the frame, the painting’s 1964 date is barely visible)

Painting dimensions: 40.0 x 30.0 cm

Good condition, (see photos)

Attention:
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Ferdinando Bellorini (1913 – 2011)

Born in 1913 into a family of humble origins (father a master builder and mother a cook), at a very young age he lends a hand to the brush and quickly stands out for his remarkable ability to create and express, with natural ease, significant painterly elements.

A pupil and later a colleague of Arturo Tosi, after having made himself known and appreciated in Milan and Brescia, at the end of the 1950s he moved to Rome where he enjoyed unanimous praise from critics and the public.

As a member of the 'Balduina' group with David Grazioso and Sante Monachesi, he teaches at various public and private schools, and has held solo and group exhibitions in Italy and abroad, ranging from small provincial towns to large metropolises.

Always in touch with the great painters, on more than one occasion he has served on juries and exhibited at the most prestigious national and international galleries and exhibitions, with Angelo Canevari, Filippo de Pisis, Salvatore Fiume, Giovanni Omiccioli, Giorgio De Chirico, Renato Guttuso, Carlo Carrà, Giorgio Morandi, Mario Sironi, Domenico Purificato, Giacomo Balla, and the great painter, historian and writer Carlo Levi, a great admirer and friend of the Master.

He receives awards of notable value and historical prestige, in addition to many diplomas of merit. Critics, journalists and artists speak about his works, among whom Berenice (alias Jolena Baldini), Michele Biancale, Liana Bortolon, Renzo Biasion, Renato Civello, Catalano, Gualtiero Da Vià, Berlozzi, Paolo Fortini, Sandra Giannattasio, Virgilio Guzzi, Duilio Morosini, Piero Girace, Pierluigi Scarpa, Ugo Moretti, Domenico Purificato, Vittorio Scorza, Marcello Venturoli, Paola Hoffmann, Rolando Renzoni, Luigi Montanarini, Ugo Attardi, Paolo De Caro, Luciano Santoro, Franco Passoni, Valerio Mariani, Franco Miele, Bruno Morini, Giuseppe Pensabene, Yvon De Begnac, historian, writer and art critic at an international level.

In 1965 and 1967, even RAI TV covered his artistic personality with a long live television interview. Bellorini thus proves to be the most awarded painter in Italy for painting and the tonal compositions of his figures, many of which were also appreciated by international critics.

In 2000 he moves to Toscolano Maderno, in the province of Brescia, where he continues his artistic activity until a few months before his death. He dies peacefully at the age of 98.

Ferdinando Bellorini is regarded by critics as a great master of modern art, a veteran of the art world, a painter of exceptional talent with an artistic, cultural, and historical background.

Critical judgment
Their art, generally expressionistic and aligned with the Roman School, has a wholly personal style. In the paintings there is a tendency to blur the painting as a whole, avoiding the emphasis of colors used by other painters; in their tonal painting, subdued colors prevail, giving the works their distinctive personal style.

The painter, trained in the postwar years, when Italian artistic culture was opening to the most qualified experience of the European Avant-Garde, has acted coherently. Bellorini studied Impressionism first, then Futurism and Abstraction, to arrive at an image as reflective as it is pure and stripped down. His style is something between the Tuscan Macchiaioli and French Impressionism, yet customized to the point that a Bellorini painting is recognizable without hesitation, and the viewer quickly grasps the message that the painter, with his bold patches, wants to express.

Line and color, transparency and overlapping are the dominant values in the image: it aims to be meaningful and allusive in its elemental forms, and to call to mind a depiction reduced to an ideographic sign.

In his paintings he manages to attain a vision and an expressive capacity for a painter that does not submit to fashion, with a direct emotion toward the natural world. His painting is invented with drawing and color as the narrative requires, produced with gentle precision in an organic way, and it achieves the transfiguration of the represented things. Objects and things are translated into painting with a mood of nostalgia for the world of things worn by time.

The painting, the Lombard artist's canvas, has a unique peculiarity: a style, a way of creating and expressing art, of feeling and bringing onto the canvas the sentiment of art, very personal. His pictorial creation is called 'tonal painting on ochre', with a predominance of red and yellow (the two colors the artist favors), which is unrivaled and distinguishes him for the excellent composition of the elements. The subjects of his paintings (whether houses, objects or people) are always in a subtle and perfect harmony with each other and with the dominant red and yellow colors, fully revealing the artist's creative, compositional and expressive capacity, as well as his incisive and personal 'invention'. Furthermore the painter achieves a composition with minimal resources, that is, he manages to create on the canvas notable works with minimal material, acting with instinctive naturalness.

The subjects most recurrent in paintings are landscapes, ruins, wandering Jews, bathers by the sea, Ciociari and boys in the courtyard, frescoes of Etruscan tombs, nudes and still lifes.

Museums and Collections
Bellorini's works can be admired in multiple private collections, museums, and public bodies: Municipality of Rome, Chamber of Deputies, Senate, Ministry of Public Instruction, Provincial Tourism Authority of Rome, ACLI of Rome, Rome Chamber of Commerce, Italian General Confederation of Labour of Rome, BNL – Banca Nazionale del Lavoro of Rome, Banca di Rieti of Rieti, Bracciano Castle, municipalities of Abruzzo, Lazio, Lombardy, Marche, Piedmont, Apulia, Sicily, Veneto, Borough of Scunthorpe Museum & Art Gallery, Tel Aviv Museum of Art Archivated on September 10, 2013 in Internet Archive., European Cultural Center, National Gallery of Modern and Contemporary Art.

Solo exhibitions and group exhibitions
He has around forty solo exhibitions to his name, among them are:

1954 Via Gramsci Gallery - Brescia
1960, 1962, 1963 Galleria “Il Camino” - Rome
1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970 Via Margutta Art Fair - Rome
1964 Gallery 'I Volsci' - Rome
1965 Gallery 'Il Traguardo' - Forte dei Marmi
1966 Gallery "La Saletta" - Frosinone
1966 Stagni Gallery - Rome
1969, 1971, 1972, 1974, 1975 Galleria "La Balduina" - Rome
1970 Gallery 'La Prima' - Latina
1972 Fontana Gallery - Foggia
1972 Bruzia Gallery - Reggio Calabria
1972 Gallery 'Incontro d'Arte' - Rome
1972 Gallery "Bottega d'Arte" - Milan
1972 Ragusa
1973 Falanto Gallery - Brindisi
1973, 1975 European Cultural Center - Rome
1974 Gallery "San Michele" - Brescia
1976 Gallery "Helioart" - Rome
1998 Sangallo Fort - Nettuno
2004 Fondaco di Palazzo Coen - Salò
In addition to almost all the national extemporaries (1961–1968), he participated in numerous group exhibitions, including several trade union exhibitions (1946–1960), the Fiera di via Margutta (1961–1970), several awards of the Biennale of Alatri (1961, 1969, 1975, 1979), the Rome and Lazio review (1963), the Prize of the Ministry of Public Instruction (1964), the Sacred Art Biennial of Sora (1965, 1967) and Bologna (1968), the Vasto Prize (1967, 1968, 1970, 1971), Contests for the Nativity Scene of the Municipality of Rome (1968–1971), the Prize

Awards and Recognitions
To the numerous cups and the many awards conferred on Bellorini (the “Il lavoro Italiano” and others) should be added about twenty large gold medals (some from the President of the Republic, the Senate, the Chamber of Deputies, the Minister of Defense), in addition to countless diplomas of merit.