After her academic education she co-operated with several artists, among which the world-wide renowned sculptor M. Berrocal. She dedicates herself to painting as well as sculpture and illustration. She exhibited her works in a number of cities, such as Milan, Verona Venice and Turin.

Catalogue: Quaderno BAC di Riva (Iva Recchia)

Born in Cannes in 1965, he lives and works in Venice. He began his artistic career in 1987. A bald man with glasses often appears in his paintings. In the first images the setting was in the forest, now he can be found in enormous libraries, often under an avalanche of books. Many paintings depict a couple in various situations ranging from the dialogue to dispute and there are even scenes of indifference.

Catalogue: Quaderno BAC di David Dalla Venezia

Born in Bologna in 1940, the majority of his works are representations of the Emilia landscape in oil or pastels. Recently he has done a series of paintings inspired by the Venetian atmosphere and light. The Island of San Giorgio, the Church of the Salute and the Giudecca are reoccurring themes in his paintings.

Catalogue: Quaderno BAC di Gianni Sabbioni

Born in Padua in 1966, he received a diploma in sculpture from the Academy of Fine Arts in Venice in 1991. His most meaningful works are figurative casts executed in both terracotta and bronze. His most recent works include figures inspired by athletes and acrobats in movement and at rest. His sculptures dedicated to the figure of Saint Sebastian are also significant.

He is a photographer who lives and works in Milan. He is a skillful and much sought-after experimenter interested in the relationship between painting and photography. His subjects are both landscapes and still-life images that are often composed by the artist himself. The surprising results of his work are similar to pictorial expression. The photographic process is considered a mere instrument used to express the artist's idea.

Born in Venice, she now lives and works between her native city and Paris. She studied at the Academy of Fine Arts with Luigi Tito. She has been exhibiting her work since 1971. Her paintings are oils on paper and canvas. The female nude is a reoccurring subject in her works, although recently she also added the male figure to her paintings.

Born in Belluno in 1969, he received a diploma from the Academy of Fine Arts in Venice in 1991. The female nude and still life images are favorite subjects in his oil paintings. He is currently exhibiting a new series of small paintings inspired by lesser-known details of the city of Venice. He is also an engraver and is presently experimenting with the expressive possibilities of the monotype - a one-of-a-kind print painted directly on a plate which is then transferred to paper. Look at the catalogue

Catalogue: Quaderno BAC di Paolo Smali

Paolo Baruffaldi, peintre-graveur, received a degree in Philosophy from the University of Venice Ca' Foscari in 1975. It was at this time that he began his first experiments with Graphic Art with Licata, Sanchini and Goetz. In 1982 and 1983 he took part in Incontri Internazionali "Anacapri: questioni delle Arti", organized by the city of Anacapri and co-ordinated by Gillo Dorfles. Here his work began to take on a more pictorial nature, working with Enrico Baj and Joe Tilson. In 1983 he exhibited a body of work entitled "Carnevale a Venezia" at the George Pompidou Center in Paris. In the same year he began a project entitled "Venezia Capitale" of which he has developed three phases so far: La Mala Pianta, cement, canvas and plexiglass (1983), Amanti, rilievi, wood outline (1984), and Il Gran Narciso, paper and canvas (1986). In 1988 he dealt with two innovative subjects: Made in Italy, an ironic title was given to introduce a corpus of engravings inspired by articles of clothing, and La Natura Morta, the artist chose a technique using "Carborundum" to execute this piece. Both of these works use large-sized plates and have been pulled a limited number of times, from the first and unique edition to the eleventh. In the early 90s he began a series of thematic exhibitions which have proven to be extremely meaningful and representative of his creative and artistic development. Baruffaldi's new exhibitions and artistic initiatives are based on the following themes: - Views of Toscana, aquatint and carborundum - Still life, carborundum - Profane Carnival, etching, aquatint and "vernice molle" - Nude and The Awakening, etching and aquatint - Monotypes, only works. - Angels and Archangels, etching, aquatint, "vernice molle" and drawing.

Catalogue: Quaderno BAC di Paolo Baruffaldi

Critical selection on the works of Paolo Baruffaldi […] Mythology is still a dark cloud that hangs heavy over human kind, the creator of demons and nightmares, of terrifying legends; Logos is the kingdom of reason, the equilibrium humanity has conquered in nature. I feel that between these two moments we find the works of Baruffaldi. It is a categorial phase of crisis, in other words a transition, emblematically represented by the intermingling cuneiform and hieroglyphic writing with clear human profiles of the classic period. (Paolo Rizzi, in “Attica” cartella di cinque incisioni a colori, 1987) (Paolo Rizzi, in “Attica” a portfolio of five colour engravings 1987) […] Baruffaldi’s work has therefore the quality of not vindicating an absolute and nihilistic value but to lay its continuous re-foundation, always expressed nonetheless by means of the languages of art. This is the route to take in approaching his work, like an “never-ending story” that has no other aim than to make its reasons heard in a society that is often characterised by deafness and default. This is how Baruffaldi reconfirms the right to linguistic contamination in art, being worried only with overcoming every cultural barrier in his concerns and thus to reach listening that is equal for all, in one word: universal. Choosing Venice as the site of his investigation and his expressiveness was not therefore only a personal necessity for the artist, it has become the place and point of comparison, the space and moment of apparition of a visual event which, in the name of poetry, involves and excites. (Enzo di Martino, 1987) […] Santi Pulcinella by Baruffaldi: they too are born in this climate of rebirth, mysterious and seductive. They do not love the crowd, this much is sure, they stay away from the limelight, observeing an ancient rite. Theirs is a different Carnival, a parallel celebration experienced through private insinuating glances. The Pulcinellas are isolated in their games, dancing and miming, they may even allow a stray domino to come on stage and join in their secrets. Pulcinella: a pixie running through the Carnival letting very little, if anything, be discovered letting everything be imagined, that which goes on beyond … Amazement, joy, maybe rage: from Pulcinella’s point of view Carnival tastes of refinement and ambiguity, irony and affection. (Emanuele Horodniceanu, in “Carnevale Profano”, 1994) (Emanuele Horodniceanu, in “Profane Carnival”, 1994) […] In truth, after closer examination, what is perhaps more illuminating is a symbolic and oneiric reading. Let us be clear: we are not speaking of dream-illusion, nor are we destined to recreate, by means of the veil of myth, an indistinct past (a Venice so filtered through meditation that it becomes almost paradigmatic). No, we are dealing with real dreams, those we have when we sleep, images through which we evoke disquiet, tension, aspirations perhaps never confessed, that only through the language of symbols can we attempt to communicate. (Duccio Pasqui, in “Carnevale Profano”, 1994) (Duccio Pasqui, in “Profane Carnival”, 1994) […] 1995. We are at “Codice 48”, at the four large sheets that for the moment conclude that journey that began with “Reperti” and continued with “Attica” (it needs to be pointed out that in these years Baruffaldi has followed other paths, and in other directions). The technique is again that of carborundum and pyrography on plexiglas, the divinities of “Attica” have become human and the sign-signature develops in four “coded” storied: Montalban Codex, Rose Codex, Clodiense Codex, Tanamea Codex. Areas of colour that thicken exploiting the plasticity of the plexiglas seem to delineate the boundaries where the secret currents of fantasy and intelligence, projects and memories flow. (Emilio Gavezzotti, in “Atelier d’Artista”, 1995) […] Today’s “Young Master” is stripped of his shirt and white trousers, of his sugar-loaf hat, he no longer has his aquiline nose his double gibbosity. However he still loves to enjoy himself or to snooze (like our Pulcinella), he is never in a hurry, he takes his time especially at the outset of the day, when he has to think of how to dress, where to go, what to do. He is thrilled when he has an audience to play to, he is furious when he does not win approval. Appearances are vital to him, nothing or almost nothing is taken for granted, there is no spontaneity, only artifice, only calculation. But what has happened to our Pulcinella? Simply this: one morning he awoke and no longer felt the need to wear a costume. (Ines Brentan, in “Quaderno BAC n° 7, 2000) […] Michael, Gabriel, Rafael, vain angels without sanctity, from a glossy-covered world travelling on the Internet highway, handing out the beauty of fragile and ambiguous paradises. Yet on these panels, Glamorama by Bret Easton Ellis, made of abdominals, pectorals, thighs, boxers and bulging briefs, something is somehow humanised and sanctified. Lucifer, the fallen angel, does not appear in this lazy winged assembly, but his spirit is present breathing blasts of carnal pleasure and lust, to vindicate his role as guiding divinity. Baruffaldi’s angels have nothing to watch over, unless it is their own image, the secrets of their caste, their liturgy of appearances. (Emanuele Horodniceanu, 2000) […]Baruffaldi’s faces and masks are expressionless, impassable, inscrutable, fixed in their “absurd” classicism, steeped in an everyday world that does not belong to them, portrayed wearing “Levi’s” or the latest “Dolce e Gabbana” boxers: demigods who prefer their Coca-Cola to the nectar of Olympus. Angels basking in the narcissistic discovery of their sensuality, insinuated beneath their briefs with exhibitionism worthy of the most sophisticated TV commercials: Angels, Archangels, Cherubim and Seraphim, not “from here to eternity” but “from eternity to here”. (Matteo Mazzato, “Caro angelo…getta la maschera”, 2000) (Matteo Mazzato, “Dear angel…take off your mask”, 2000)

Catalogue: Quaderno BAC di Paolo Baruffaldi

Born in Venice in 1920, he received his diploma from the Art Institute of the same city in 1942. Immediatly after the war he was one of the founders of the "L'ARCO" Cultural Center of Venice and exhibited at the Venice Biennale. His works are executed using a wide variety of materials - wood, iron, cord and rope. He also makes artistic books where gold shines through dust and glass fragments to remind one of pieces of lost mosaics.

+died in 2007

Catalogue: Quaderno BAC di Ferruccio Bortoluzzi

"The practice of repeating emancipates thought from time flying away"
Lieh-Tzu III Cent. B.C.

A new series of photographs in the galerry section, photography, Baruffaldi.

For some years now the artist has been working with digital photography alongide his research in the field of engraving.
This section shows his most recent works on the theme of Venice.

Catalogue: Quaderno BAC di Paolo Baruffaldi

BAC ART STUDIO gallery offers the opportunity to order, for the etchings bought on-line, also the respectives best frames. To guarantee the best quality, the gallery proposes frames on wood handmade painting, with inclusions of gold in the corners. Every frame is a unique and exclusive piece. Client can choice the etching and shows us the principal colors that prefers for his frame. P.S. You can order also the frames withouth etchings.

Collection of "Vetro di Murano", from the years 1920. The more important masters and designer

Giuseppe ZANON  begins the artistic activity in years "80.

Its photographic works are inspired by “pittorica vision” of the image.

All photos are printed in a limited edition, signed by the artist.

“…Le maestose architetture seguono un andamento armonioso e traducono le bellezze più riposte, rivelando con discrezione i riflessi di una percezione visiva che è specchio dell’anima…”
Gabriella Niero

Loris Marazzi

This talented artist, born in the beautiful city of Venice, has absorbed the history and culture of the city, manifesting in his awareness and artistic abilities.

Loris Marazzi's unique talent enables him to transfer his emotions into the most wonderful living sculptures.
The sculptures are made from the cirmolo's wood, an old Italian pine that grows on the Dolomite mountains, above 2000 metres, near Cortina.
For centuries the Venetians have used this wood to build their wonderful houses and theatres like the "La Fenice" Theatre, because of its ability to withstand damp, insect infestation and its great resistance to cracking.

Paolo Baretta was born in Milan on February 8th, 1961.
His attraction to all forms of artistic expression initially brought him to become active in the music field, which he left at age 30, dedicating himself exclusively to painting.
Starting 1992, he worked at the studio of Master Egidio Fusi, during which time he participated in a few painting awards.
The Nineties saw the dawn of a collaboration with William Congdon, the last great member of the New York-based “Action Painting” group, creating a friendship and work relationship that lasted until Congdon’s death in 1998.
Since then, Paolo’s path has brought him to recognize dignity in the simplest things, in picture composition, and ultimately in the evolution of man and artist, and his eternal search for truth.