BARUFFALDI, ritratto con foulard

Description

Paolo BARUFFALDI

Original etching executed exclusively for our Gallery, signed by the artist and numbered editio. Print with a hand press Bendini. Embossed stamp BAC ART STUDIO the press sheet.

Paolo Baruffaldi, painter-engraver. In 1975 he graduated in philosophy and began the first graphic experiments with Licata, Sanchini and Goetz. He participated, in 1982 and 1983, in the International Meetings “Anacapri: questions of the Arts” organized by the municipality of Anacapri and coordinated by Gillo Dorfles. In 1983 he presented the volume Carnevale a Venezia, published by Doge Editore at the Center George Pompidou in Paris. In the same year he presented the exhibition-installation La Mala Pianta at the S.Basso University of Venice. Published the folders:
FINDS, five color engravings, presentation by P. Fraccalini, 1978; LA LUNA, three color engravings, presentation by M. Stefani, 1980; ATTICA, five large format engravings, presentation by P. Rizzi, 1987; CODE 48, four engravings, presentation by E. Gavezzotti, 1995.
He is the author of the Carnevale Profano (1994) collection of color engravings with texts by Emanuele Horodniceanu and Duccio Pasqui.
Recent exhibitions include: Terrae, digital elaborations on Land art interventions; Seven brother, folder of soft waxes and dry tips; New icons, egg tempera on wood. 2015: This is Contemporay art at Chiostro dei Frari, with the personal “Strada Statale 309”, via Crucis profana. BAC notebook n ° 22.
See also BAC Notebooks n ° 7 (le Réveil), n ° 17 (The Lion and the Angel).
In its forty years of engraving activity it has produced about three thousand plates.
The favorite subjects are portraits, landscapes and fantastic figurations.
In 2019 he published a triptych of engravings on the theme “The Angel of the Shipwreck”, using large plexiglass plates engraved with a dry point and pyrograph. Another theme of this period, “Despite Venice”, large sheets printed in carborundum and pyrography on plexiglass. A vision of the city, far from any oleography or tired illustration. The graphic result refers rather to the radiographic plate, thin, essential and, therefore, more disturbing.
In 2018 the volume “Il Colore Inciso”, published by Marsilio, comes out, which collects a reasoned overview of the engraving work over 40 years of activity.