Renata Pfeiffer Biography
Renata Pfeiffer, a Milanese painter born in 1930, has been working in art since 1958, the date of her first painting, an oil portrait of her five-year-old daughter Laura. Since then he has crossed the world of Milanese art and not only following his personal path, recognized by critics and writers, such as Dino Buzzati, Raffaele Carrieri, Liana Bortolon, who started with a very particular use of industrial enamel colours, to describe , in the 70s and 80s, the world of the suburbs and urban construction sites, especially in Milan, with research applied to the graphic exaltation of the machinery that represents the construction of the growing city, such as cranes, stone crushers, pylons , opposed and most often integrated to segment the landscape into aerial plots. On the basis of Mondrian's research, Renata gradually approached a level of abstraction that never ignores, as she herself declares in the film, the figurative element, because for her "the abstract does not exist", with precious coloristic and compositional results. . Over the years and in parallel, Renata, also being a journalist and having collaborated with various children's newspapers, was able to support the work of her husband, Enrico Bagnoli, one of the great Italian illustrators (for Fratelli Fabbri, Mondadori, Ghisetti and Corvi , up to Martin Mystère for Bonelli), who passed away recently, contributing to the writing of subjects and screenplays in the field of comics. Unfortunately, in the 1990s, the prolonged use of industrial nail polishes proved to be toxic for Renata, causing her to develop a tumor. This led to a painful abandonment of the materials used up until then and a continuous search for new means of expression. At the beginning of this year his creativity manifested itself through the use of metals, giving rise to a production that is surprising in its technique and innovative character. In October he exhibited his 35 new works focused on the world of the deep sea and made of various metals, aluminium, copper, bronze, jewelery residues and small parts, semi-precious stones, foundry waste at the Luciana Matalon Foundation, in Foro Bonaparte in Milan. , threads and sheets, of surprising beauty, poised and ingenious synthesis between figuration and abstraction.
