Landscape

Landscape  is a black and white etching on paper, realized after 1960 by the Italian artist  Renzo Biasion  (Treviso, 1914 - Florence, 1996).

Hand-signed  in pencil on the lower right margin and monogrammed on the reverse and on plate  (lower right corner).

This  original print  represents a natural landscape with a little and peaceful town in the distance (maybe it is Urbino) with a sober language and a delicate sign.

With an excellent inking on a straw-yellow background, this contemporary artwork is in excellent conditions, including a cream-colored passepartout (39.8 x 30.2 cm).

Renzo Biasion and the etching :

Renzo Biasion has made his etchings since the 1960s and the dominant features of all his art are visible in them. With a sober language, he represents interiors and landscapes immersed in silence that is stillness not solitude.

The artist himself writes about the magic art of etching as follows: " Like many painters I began to engrave late. And the first push was practical, I wanted to reproduce for friends some views of the German concentration camps, which I had drawn from life during my imprisonment. The passion is later, in the camp of Biala Podlaska, ninety kilometers north of Warsaw, I had available tiny sheets of paper, some drawing nibs, and a bottle of Indian ink. Taken prisoner, with their owner, to Crete, they helped me to live because I gave drawings to the Germans for bread. Thus, having taken the plates, the basin, the acid, and having dusted off the notions learned at school, I began at first to redo some paintings, and then to go outside, rather than with the sheet white, pen or pencil, with steel tips and smoked plate. The engraving is drawing; that is done with instruments other than a pencil, (...) a good draftsman can soon become a good engraver too, while a bad draftsman will never, (...) completely mask his insufficiency. And since the drawing is the first expression of the artist, the most spontaneous and direct, (...), I tried to do with the steel point what I did with the pencil, that is to say, transfer on the plate a proven emotion, a precisely, an idea (...)

But the tip, forcing me to "look" in a different way, led me to an investigation into the very particular (...) so the incision can come with the thin tip where the brush would lose its bite, let's say the description of an insect, of a shell, of a tree trunk, of a bunch of herbs, of flowers when they have become dry, and so on. (...) and in my case they are certain facades of social housing, the suburbs of industrial cities, with their tangle of wires, avenues and rails, the interior of the studio, that is to say a world created by me, the dried flowers and shells, which Budigna okmi remember the sea, passed through by generations of my ancestors, and therefore perhaps remained in my blood like a nostalgia for space, strength and purity. Here is the incision, pointing to new paths, has broadened the field of my interests. Which means an enlargement of learning, and of living. This may be important for one who considers painting a way of communicating and the painter's task to take and understand in order to then give, God helping, with beauty and truth ."