SAVERIO RAMPIN

Stra, 1930 - Venice, 1992



After the public and critical success of the great anthological exhibition organised by the Municipality of Padua last October at the Eremitani Civic Museums, the work of Saverio Rampin returns to the Galleria Michela Rizzo with an exhibition itinerary that presents, by emblem, the work of the Venetian artist from the mid-1950s to 1990. In this concise yet timely analysis of Rampin's work, the exhibition investigates inside the artist's oeuvre, starting from the paintings that adhere to the Spatialist period to the research of the 1960s and 1970s. Within his research, Saver i o Rampin, now f ree f rom the expressionism of chromaticism and always hovering between the material and its dissolution, applies a turning point aimed at revealing that emotion in art is something that can also be detached from the compositional rules and stylistic supports imposed by formal tradition. This concept ends up being embodied in the gracefulness of an elusive image, solely pursued through the lyrical fluidity of colour and with increasingly muted hues in the tenderness of a surfacing light. The exhibition i s cur a t e d by St e f ano Ce c che t t o i n collaboration with the Archivio Saverio Rampin and Galleria Michela Rizzo.Saverio Rampin Stra, 1930 - Venice, 1992. Trained at the Academy of Fine Arts in Venice, he soon made a name for himself in the area's artistic milieu, and participated from 1948 in the group exhibitions of the then very active Fondazione Bevilacqua La Masa. He is now considered one of the major exponents of Venetian Spatialism, although Rampin never wanted to sign its manifesto. In the 1950s, the artist developed a painting characterised by a strong expressive value and distanced himself from the initial cubo-futurist experiences. In this period, the turn towards bright colours, applied with impetuous brushstrokes, is confirmed as a recognisable feature, attesting to a decisive abstractionism.

(1955-1957). The meeting with Virgilio Guidi at the end of the decade led the artist to change his expressive language, now oriented towards new solutions. Towards the end of the 1950s, in fact, Rampin matured an important evolution and began to focus his research on the vibratory possibilities of colour, calmly laid out in geometric compositions; bright hues were replaced by delicate colours and the previous expressive impetus gave way to a painting that was more lyrical and aimed at interiority. He reveals in his works a marked poetic sensitivity expressed by refined and delicate, almost impalpable chromatisms, tangible evidence of his continuous, almost obsessive research into colour that, like light, and thanks to light, delineates new realities beyond visible space. In 1950, when he was only 20 years old, he was invited to the 25th Venice Biennale and 1951 was his first solo exhibition, presented by Pizzinato at the Sandri Gallery in Venice. In 1955 he received the Venice Prize at the XLIII Collettiva della Bevilacqua La Masa and won the Campari at the Burano Prize, which he repeated in 1960. In 1956 he was awarded first prize ex aequo with Riccardo Licata at the Bevilacqua La Masa. In 1958 he was assigned a studio in Palazzo Carminati, which he kept until 1961; he continued to frequent Carlo Cardazzo's Galleria del Cavallino, the base of the Spatial Artists and, through Guidi, came into contact with the main nucleus of the Milanese Spatialists: Fontana, Capogrossi, Crippa and Dova. 1961 saw the beginning of his association with Enzo Pagani, owner of two galleries, who organised fourteen solo exhibitions for him until 1989. In 2006 Luca Massimo Barbero curated Saverio Rampin. General Catalogue 1945-1981. This year, the exhibition Saverio Rampin. Tempo, spazio, luce opere 1955-1991, curated by Stefano Cecchetto and in collaboration with the Rampin Archive.

Galleria Michela Rizzo has been collaborating with the Rampin Archive since 2016, and has presented the artist's work in various group exhibitions and fairs; 2019 saw his first solo exhibition organised in the spaces of the former brewery at the gesture with the extensive series of Moments Giudecca, entitled Pensai il colore, guardai il sole, curated by Davide Ferri.

Saverio Rampin (Stra, 1930 - Venice, 1992) lived in Venice.

Trained at the Academy of Fine Arts of  Venice, in the two-year period 1948-49, he soon became noticed in the artistic environment of the area, and since 1948 he has participated to the collective exhibitions of Bevilacqua La Masa Foundation.

In 1950, at the age of only twenty, he exhibited at the Venice Biennale.

Today he is considered one of the greatest exponents of Venetian spatialism, although Rampin never wanted to sign the manifesto.

In the 1950s, the artist developed a painting characterized by a strong expressive value and distanced himself from the initial experiences of a cubo-futurist matrix. In this period, the turn towards bright colors, spread with impetuous brushstrokes, is confirmed as a recognizable figure, attesting to a decisive gestural abstractionism with the extensive series of Moments (1955-1957).

The meeting with Guidi at the end of the decade led the artist to change his expressive language, now oriented to welcome new solutions. In fact, at the end of the Fifties, Rampin matured an important evolution and began to concentrate his research on the vibrating possibilities of color, calmly applied in geometric compositions; the bright colors will be replaced by delicate colors and the previous expressive impetus leaves room for a more lyrical and interior-oriented painting.

The Michela Rizzo Gallery has collaborated with the Rampin Archive since 2016, and has presented the artist's work in various group exhibitions and fairs; in 2019 is his first solo show organized in the spaces of the former brewery on Giudecca, entitled I thought the color, I looked at the sun, curated by Davide Ferri.