Riccardo Tommasi Ferroni Biography
Tommasi Ferroni Riccardo (Pietrasanta, 1934 - Pieve di Camaiore, 2000) Riccardo Tommasi Ferroni was an artist of the 20th century. It was the father who passed on to his son the passion for drawing and artistic work. Ferroni trained at the Faculty of Letters and Philosophy in Florence, also attending the Academy of Fine Arts at the same time. The influence of literature is clearly evident in the mythological subjects and classical themes of his works, in which the fantastic dimension coexists with the history, the ancient with the modern, the sacred with the profane. Ferroni moved to Rome in the years 1957/58 where his artistic turning point occurred. In this period he produced some of his youthful masterpieces such as "Gli demoniati di Gerasa" (1965), in which the stylistic signature of his works is noted: the "sculptural" rendering of the clothes, which contrasts with the delicate pink complexions of the characters. Critics began to talk about the artist, defining him as a figure in revolt against technology and contemporary cultural degeneration, also linking him to the metaphysical painting of Giorgio De Chirico. In 1965 he participated in the IX Quadrennial of Rome and in those of 1972 and 1986. In 1965 he participated in the IV Biennial of Contemporary Art in Paris. In the seventies he demonstrated his technical skills with the creation of important works: “Interno” (1971), “Venus, Mars and Love” (1972), “Roman Allegory” (1972), “Television shooting” (1973), “ Rape of Europe” (1975). In the same period his first personal and collective exhibitions abroad began. Important events occurred in the eighties: in 1982 Ferroni became a member of the Roman Academy of San Luca and participated in the Venice Biennale. Also in the same years he created important works such as: “Supper in Emmaus” (1982), “Abraham and Isaac” (1983), “Disbelief of St. Thomas” (1983), “Great Roman Battle” (1984). Ferroni's painting also began to establish itself in the American cultural environment, in which the artist's works began to take on allegorical connotations. Subsequently there was a revival of interest in the figurative genre and consequently also in the painting of Tommasi Ferroni.
