Sergio Franzoi

Sergio Franzoi (10 July 1929 - 16 February 2022)was an Italian painter and teacher, one of the last exponents of the Venetian post-expressionist current in Italy.
He trained, like other Italian artists, in the group exhibitions of the Bevilacqua La Masa Foundation and, from the first realist paintings of the fifties, he developed an increasingly personal reworking of expressionism arriving, after twenty years of activity, to paint no longer human subjects, but biomorphic forms.
From 1948 until the first decade of the 2000s he participated in regional, national and international exhibitions and received various awards, including the City of Gallarate Painting Prize in 1950, the Suzzara Prize in 1951 and 1957 and the Burano Prize in 1953 and 1956. His works appear today in public and private art exhibitions, in Italy and abroad.
Biography
Sergio Franzoi was born on the island of the Venice Lido on July 10, 1929 where he spent his childhood under the fascist regime of Mussolini and where he produced much of his youthful artistic activity before moving to the city of Venice around the sixties. His father was a building contractor in Venice and it was here that Sergio Franzoi enrolled in the artistic high school in 1943, at the height of World War II, where he was able to develop first artistic and pictorial skills alongside self-taught activities, to then continue his studies in 1947 when he attended the high school of pictorial training (school of painting) of the Venice Academy of Fine Arts where he studied and graduating in 1952. This presence at the Venetian exhibition of artists, will be followed by many others, there are sixteen in total, full of awards.
First steps in the Collectives
Starting from 1948 and up to 1963, for fifteen years, he took part substantially in almost all the annual exhibitions of the Bevilacqua La Masa Foundation, with the exception of the editions of 1951 and 1954, winning numerous prizes for painting.
The first works presented in the group shows were characterized by the typical themes of those years. From work scenes with social accents ("Fishing boats", 1948, "Pescatori", 1952), in fact we passed to views and landscapes ("Caldonazzo", 1949, "Capanne sulla spiaggia", 1950, "Case a Burano", 1953, "Paesaggio di Marghera, 1953 and "Paesaggio di Malamocco", 1953).
In 1948 at the age of nineteen, while still student at the Venice Academy of Fine Arts, he took part for the first time in the 36th edition of the Bevilacqua La Masa Foundation presenting the painting "Pescherecci".
In 1956 the first recognition finally arrived to Franzoi. It was the third prize in the painting section on a par with Paolo Meneghesso. The paintings presented that led him to earn third place in the coveted artistic award were: "Paesaggio di Olanda", "Rimorchiatore in Laguna " and "Paesaggio Olandese", three paintings that referred to realist painting and which did not deviate much from his early works of previous years.
Hit of the 1950s and 1960s
Franzoi participated in the fifties, also in other painting prizes in the Venetian area, among of which the Premio Burano (on the island of the same name) with paintings characterized by lagoon settings, such as "Tramonto" (1956), which partially resumed the characteristics of his youthful activity.
Beyond the local competitions, his works also began to be featured in national exhibitions, including the National Exhibition for Visual Arts held in Rome in 1950 and some exhibitions in Milan such as in the 1952 Exhibition of Poetic Reality in the Salvetti Gallery and in the 1956 the San Fedele Painting Prize, in addition to the participation in 1958 at the International Youth Biennial of Gorizia.
Between the end of the fifties and the sixties he also organized some personal exhibitions with the Bevilacqua La Masa Foundation in 1959, 1961, 1963 and 1967.
In 1960 Franzoi won the second prize ex aequo with the work "Amanti" together with Miro Romagna, Sergio Perolari and Domenico Boscolo, all painters belonging to the figurative art and closely linked to tradition, The painting "Amanti" represented a scene of profound lyricism between two nude figures surrounded by thick black brushstrokes, the latter characteristic which will be fundamental in the artist's productions.
The following year he came second again in the Bevilacqua painting category with the work "I sopravvissuti", which resumed the figurative art of the previous edition but modified its composition in favor of one with a broader scope: instead of taking up two figures in foreground, like the previous work, in these new compositions he depicted four figures, one of which he held in his arms a child, according to a pattern that could be defined as almost archaic. In that same edition Franzoi also presented another painting, "Il clown" which was a coherent work with the previous ones for which it also earned the second prize the year before. The painting presented a realism evidently influenced by Nordic expressionism with figures in sparse tones.
These paintings impose him and present him in Italy as one of the most promising young talents of those years, allowing him, in 1961, to take part at the Biennial of Art Triveneta of Padua, and two years later at the edition of the prestigious National Painting Award "F. P. Michetti" in Francavilla al Mare.
In those years he had already become an established artist in fact already in 1962 he had exhibited in numerous group exhibitions in Venice and also in other Italian cities including, in addition to those of Rome and Milan . there are in 1951 the National Exhibition of Fine Arts Academies in Naples and in 1959 the National Exhibition of "Aquarium" Painting in Pontedera on the occasion of the IX Pontedera Prize. Furthermore, he had taken part in almost all the group exhibitions of the Bevilacqua La Masa starting from 1948 becoming a well-known name in the Venetian area, ranging also in the national one.
Meanwhile, in 1954, he had become Teacher at the Venice Academy of Fine Arts; role that he will subsequently leave for the chair of ornate modeling at the artistic high school of Venice where he will teach until his retirement in the early 1990s. In the 1950s he had therefore already received many awards in Italy by participating in various art competitions among which there are the Painting Award of the City of Gallarate of 1950, the Burano Prize of 1953 and 1956 and the Suzzara Prize of 1951 and 1957, which represent only a few examples.
In 1964, after a selection, Franzoi returned to Rome to take part in the IX National Art Quadrennial of Rome where the artist presented three works entitled Figura n. 1, n. 2 and n. 3. In 1968 his work landed and gained interest even internationally, managing to present itself in Egypt by exhibiting at the VII Biennial of the Mediterranean in Alexandria.
First prize in the 50th edition
After several participations, Franzoi managed to win the 1st prize for painting, with the oil canvas "Dopo la catastrofe", in the 50th edition of the collective exhibition organized by the Bevilacqua la Masa Foundation between 1962 and 1963.
The three paintings presented by Franzoi ("Dopo la catastrofe", "Nudo" and "Uomo con fiore") were in fact paintings of figurative art with characteristic features of expressionist painting, with thick black outlines and a simplification of forms.
Specifically, the last painting "Nudo" represented a reclining nude female figure, portrayed with the rough style and the usual black line that characterized most of his production of those years. In fact, Franzoi later will leave naturalistic depiction in favor of an increasingly sparse painting, with references organic but no longer figurative.
1970s and mosaic in the former Ospedale al Mare on the Venice Lido
During the 1970s he was now a developed artist and presented himself as such in some personal exhibitions in Venice, among the others there was the one held at the Fondazione Querini Stampalia of 1970, the one organized the following year at the "Il Traghetto" Art Gallery or the one of 1973 in Mestre held at the Galleria "Acquario". He also takes part in some painting prizes among which the 1971 Painting Prize of Bassano Del Grappa and the 1979 Painting Prize "Carlo Dalla Zorza" to Asolo. In 1974 he took part in the National Exhibition of figurative arts in Milan at the Castello Sforzesco.
In his artistic life, Franzoi also produced some cartoons and canvases for mosaics with decorative motifs abstract. Worthy of note is the work completed in 1975 comprising a series of five drawings or preparatory cartoons composed of five mosaic subjects which he commissioned from the Friuli Mosaic School on behalf of the former Civil Hospital of Lido di Venezia.
The cartoons were produced with mixed media, tempera paint or tesserae.
Specifically, the works produced depict "arrows" all resulting from the same creative nucleus abstract, characterized by chromatic tones that play on the idea of movement. The unscientific tessellation technique helps the dynamism of the works, also making the "carpet-cartoons" themselves coloristic and almost ornamental.
Particularly, the subjects of sketch numbers 3 and 4 present a whole central figure surrounded by other fragmented abstract figures that are elongated and marked with blue-sky blue tones and reddish spots. In the background there are lighter shades of white and golden beige. The extreme dynamism of the works is basically given by two recurring elements: the first concerns the choice of using light colors for the background which communicates a sense of movement, the second is the use of guidelines represented by white lines which connect the various figures with the outside. The "weaving" technique that was used by Franzoi for the execution of the cartoons makes the result of the work already clear. The whole thing was then made in marmi and smalti with direct processing on the concrete slab through application with cement glue.
The mosaic created and completed is visible today inside the former Civil Hospital of the Venice Lido in the internal area of swimming pool overlooking the beach, in the north-east wall of the complex. The preparatory drawings and cartoons are conserved in Spilimbergo in province of Pordenone in the gallery and archive in the Mosaic School of Friuli.
Later artistic activity and death
What can be defined as a real culmination of his artistic history is the exhibition and seminar of 1982 in which Franzoi took part and which was organized in Venice by the Department of History and Criticism of the Arts of the University of Ca' Foscari, by the invitation of famous Italy art critic Giuseppe Mazzariol. He also participated in the exhibition-event of 1984 at the Gallery Bevilacqua La Masa Foundation entitled "Cronaca 1947-1967".
The last decades of his artistic career were characterized by refined and elegant investigations on the female nude; particular signs and colors have come together in her artistic works to re-explore the human body understood like a sort of landscape.
Franzoi ended his career in the first decade of the 2000s after more than sixty years of artistic activity, participating in his last exhibitions.
Sergio Franzoi died in Venice on 16 February 2022 at the age of 92. He is buried in the Venice Monumental Cemetery located in the "San Michele" Island in Venice.
Style
Sergio Franzoi approached painting starting from an original experience such as the vision of the sea, the fishermen who traded their nets on the beach against the great reflection of the sun on the waves, the changing and engaging emergence of phenomena in the background infinite and dazzling of light, the uncertain and attractive boundary between the next and the known and the unknowable. There are traces of these images in his early works, but soon the engaging and intriguing universe of eros will attract him.
Still beaches or in any case indeterminate places on which the orgy of deafening rhythms, the sweetish putrefaction of after-baths, the irrepressible avalanche of advertising has not yet rushed. Spaces where dreams dance on the trajectories of gazes - unfathomable paths of desire - where unforeseen adventures blossom, sweet conjunctions, interpenetrations, warm embraces, in the soft mingling of flesh. "... Intense landscapes of life" Giuseppe Mazzariol once defined them, "... Nothing else. Sometimes the flower of a mouth emerges, the thin almond of the eye or of sex opens up to the presence. A great calm rises from these supine footprints where white prevails and unifies".
And in effect figures and landscapes mingle while the imagination enters paths destined to get lost in the swirling motion of the imagination, in an inexhaustible succession of encounters and situations. However, in Franzoi's case one should not think of an easy narrative painting. In fact, he is not a calm naturalist painter intent simply on reproducing what one sees.
He is well aware of the autonomy of painting, he does not ignore that art has its own laws, its own constructions, its own paths, and that mysterious and wonderful are the bonds that connect it to the world. Franzoi's approach to the essentially metaphorical language of painting is anything but naïve. He not only recognizes its freedom but also intuits its possible usury, the always lurking risk of aphasia, perhaps due to representative virtuosity, redundancy, banal repetitiveness or excess sensitivity. Not surprisingly, precisely to avoid these dangers, he limits himself by forcing his own innate qualities into deliberately harsh and difficult itineraries.
A very gifted painter, in many respects he tackles the image plastically, as a sculptor, subtly upsetting the very foundations of the traditional construction of the painting. In this way the light-dark is practically eliminated in favor of the imminence and almost physicality of the surface, while the consistency of the volumes is translated into the arduous complexity of articulated formal hieroglyphics. All this while also the colour is losing its usual permeating property, it does not spread out in zones, but rather it is concentrated in contrasting and external streaks, or it is coagulating allusively on the linear contours. The picture thus explicitly lives on a dual nature, as a space that is both physical and virtual. To become part of it, the real must then pass through the filter of the psyche, of the imagination, of the reason, of the instinct, find a particular and unrepeatable configuration such as to transform the phenomenon, things, the world, into icon.
Obviously Franzoi does not face such a difficult task without equipping himself with adequate tools: in his works the memories of the silhouettes French-speaking Maremmani racetracks', the refined teachings of Braque, and dreamy fantasies of Klee, the very elegant enveloping undulations of Modigliani and, perhaps more insistently, the most tormented and poisonous echoes of the linearisms of Klimt and Schicle.
However, that it is not a mere, albeit highly refined repertoire of stylistic juxtapositions, appears if only from the fact that the very way of composing the painting has changed radically in the time: while in his first works the image appeared "centered" as if to dominate the space, now it seems to spread over the entire surface, probably also signifying the loss of all certainty and every foundation typical of our era and yet, as the great Virgilio Guidi wrote, with Franzoi's painting we are still "... in the regions of man". There is in fact an irrepressible trust of an ancient humanistic matrix to guide and support his fight against the interchangeability and infinite multipliability that seem to characterize the chaotic world in which we are immersed. For Franzoi instead every painting, every work must be distinguished by virtue of the form, the result of an irreproducible link that is established between being there and totality. Only the rigor of the form can in fact allow some dignity - a word now obsolete in the current vocabulary - also understood as a possibility of comparison and judgment, in a constant tension of order moral at best.
Shy and frowning in his gruff and proud meekness, Sergio Franzoi, in the midst of the confused noise of the by now often incomprehensible contemporary systems, continues to feel the civil need to raise his hymn to love, the universal energy that holds together and makes entities flourish again, convinced like the Phaedrus of the Symposium platonic that:
"[...] in reality, what must guide the whole life of men destined to live beautifully is something they are not able to inculcate in us, with such beauty, nor kinship, nor honors, nor riches, nor anything else, [d] but love. And by what do I mean? Shame for baseness and the aspiration to noble things: without them, in fact, it is not possible for either a city or a private individual to carry out great and beautiful works.
Excerpt from the speech of Phaedrus from the work ' 'Symposium by Plato. Verses 178 [c] and [d].
Exhibition activity
1948 - Venice, 36th Collective Gallery Bevilacqua La Masa
1949 - Venice, National Exhibition of Fine Arts Academies
1949 - Venice, 37th Collective Gallery Bevilacqua La Masa
1950 - Rome, National Exhibition for the Figurative Arts
1950 - Venice, 38th Collective Gallery Bevilacqua La Masa
1950 - Gallarate, National Award for Painting City of Gallarate
1951 - Naples, National Exhibition of Fine Arts Academies
1951 - Venice, Burano Prize Exhibition
1951 - Suzzara, IV Suzzara Prize
1951 - Venice, 39th Collective Gallery Bevilacqua La Masa
1951 - Venice, Del Delta Exhibition
1952 - Venice, Group of 8 Young Painters
1952 - Rome, II Youth Cultural Olympics
1952 - Venice, 40th Bevilacqua La Masa Collective
1952 - Milan, Exhibition of Poetic Reality - Salvetti Gallery
1953 - Venice, Burano Prize Exhibition
1953 - Milan, National Exhibition of Fine Academies
1953 - Venice, 41st Bevilacqua La Masa Collective
1955 - Cesenatico, IV Cesenatico Painting Prize
1955 - Venice, 43rd Bevilacqua La Masa Collective
1955 - Legnago, City of Legnago Painting Prize
1956 - Venice, Burano Prize Exhibition
1956 - Milan, San Fedele Painting Prize
1956 - Venice, 44th Bevilacqua La Masa Collective
1956 - Mirano, City of Mirano Painting Prize
1957 - Suzzara, X Suzzara Prize
1957 - Venice, 45th Collective Gallery Bevilacqua La Masa
1958 - Gorizia, VI International Exhibition of Figurative Arts
1958 - Bergamo, Dalmine Prize
1958 - Venice, 46th Collective Gallery Bevilacqua La Masa
1959 - Pontedera, IX Pontedera Prize - National Exhibition of "Aquarium" Painting
1959 - Venice, 47th Collective Gallery Bevilacqua La Masa
1959 - Venice, Exhibition of Awarded Artists - Collective Gallery B.LM.
1959 - Venice, Personal Exhibition at the Bevilacqua La Masa Gallery
1960 - Venice, 48th Collective Gallery Bevilacqua La Masa
1961 - Padua, XIV Triveneta Art Biennial
1961 - Copparo, Copparo Award for Interregional Art Exhibition
1961 - Venice, Personal Exhibition at the Bevilacqua la Masa Gallery
1961 - Venice, Collective of Venetian Painters
1961 - Venice, 49th Collective Gallery Bevilacqua La Masa
1962 - Venice, Il Canale Gallery - Exhibition of Young Venetian Painters
1962 - Rovigo, Interprovincial Art Exhibition
1962 - Venice, 50th Collective Gallery Bevilacqua La Masa
1963 - Francavilla al Mare, XVII National Prize for Painting "F.P. Michetti"
1963 - Venice, Personal Exhibition at the Bevilacqua La Masa Gallery
1963 - Venice, 51st Collective Gallery Bevilacqua La Masa
1964 - Venice, 52nd Bevilacqua La Masa Collective
1965 - Rome, IX Quadrennial National Art Exhibition
1965 - Venice, VIII Mestre Painting Prize
1965 - Venice, 53rd Collective Gallery Bevilacqua La Masa
1966 - Venice, Exhibition of Venetian Painters
1966 - Venice, IX Mestre Painting Prize
1966 - Venice, Collective Gallery "Contarini"
1967 - Padua, "Il Sigillo" Gallery Personal Exhibition
1967 - Venice, X Mestre Painting Prize
1967 - Venice, Personal Exhibition at the Bevilacqua La Masa Gallery
1968 - Alexandria, Egypt, VII International Biennial of the Mediterranean
1968 - Vicenza, "Al Cenacolo" Gallery Personal Exhibition
1970 - Venice, "Querini Stampalia" Foundation Personal Exhibition
1970 - Venice, La Toleta Gallery "The Golden Marengo"
1971 - Bassano, Bassano Del Grappa Painting Award
1971 - Venice, "Il Traghetto" Gallery Personal Exhibition
1971 - Venice, Mestre Collective Gallery "Acquario"
1972 - Venice, Venetian Painters Homage to Diego Valeri
1972 - Venice, Personal Exhibition Mestre Galleria "Acquario"
1973 - Venice, Youth of the 50s - S.Vidal Art Gallery
1974 - Milan, Castello Sforzesco National Exhibition of Figurative Arts
1979 - Asolo, "Carlo Dalla Zorza" Painting Award
1982 - Venice, University of Artistic Discipline Institute
1984 - Venice, Chronicle 1947-1967 Galleria Bevilacqua La Masa
1989 - Venice, Personal Exhibition at the Ferry Gallery
1998 - Venice, Personal Exhibition Hotel Bel Sito
2000 - Venice, Multigraphic Gallery Personal Exhibition
Main awards and recognitions
1950 - First place: City of Gallarate Painting Prize
1951 - First place: Suzzara Prize
1953 - First place: Burano Prize
1956 - First place: Burano Prize
1956 - Third place: prize in the painting section of the 44th collective Fondazione Bevilacqua La Masa
1957 - First place: Suzzara Prize
1960 - Second Place: prize in the painting section of the 48th collective Fondazione Bevilacqua La Masa
1961 - Second Place: prize in the painting section of the 49th collective Fondazione Bevilacqua La Masa
1962 - First place: prize in the painting section of the 50th collective Fondazione Bevilacqua La Masa
Works in collections
"Amanti", oil on canvas, 75 x 100 cm, sec. XX, A0355, Fondazione Musei Civici di Venezia - Ca' Pesaro, International Gallery of Modern Art;
"Dopo la catastrofe", oil on canvas, sec. XX, 127 x 151 cm, BA0424, Fondazione Musei Civici di Venezia - Ca' Pesaro, International Gallery of Modern Art;
"Il Clown", oil on canvas, 72 x 72 cm, sec. XX, BA0377, Fondazione Musei Civici di Venezia - Ca' Pesaro, International Gallery of Modern Art;
"Paesaggio", oil on canvas, 74 x 89 cm, sec. XX, BA0531, Fondazione Musei Civici di Venezia - Ca' Pesaro, International Gallery of Modern Art;
"Paesaggio di Marghera", oil on canvas, 75 x 70 cm, sec. XX, BA0156, Fondazione Musei Civici di Venezia - Ca' Pesaro, International Gallery of Modern Art.
References
Bibliography
Sergio Franzoi Galleria Multigraphic, Introduction by D. Marangon, Catalog of the Personal Exhibition (Galleria Multigraphic Venice), Nuova Tipografia snc, 2000;
Giulio Mariotti, "A happier moment than the present" The annual collective exhibitions of the Opera Bevilacqua La Masa from 1958 to 1967, Ca' Foscari University, 2011-2012, pp. 49, 50, 59, 75, 76, 88, 92, 116, 120, 131, 134, 171, 194-197, 234;
Margherita Divari, The Opera Bevilacqua La Masa in Venice: the recovery of exhibition activity after the Second World War (1947-1955), Ca' Foscari University, 2012-2013, pp.96, 102, 112, 125 , 127, 140;
Franzoi, exhibition catalog (Mestre, Galleria Acquario), Mestre 1972;
G. Nonveiller, Collective exhibitions. Outline for a history of the visual arts in Venice in the sixties. Notes on the Seventies, in Emblemi d'Arte. From Boccioni to Tancredi. One hundred years of the Bevilacqua La Masa Foundation 1899-1999;
46th collective exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Galleria Bevilacqua La Masa), Stamperia di Venezia, Venice 1958;
47th collective exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Galleria Bevilacqua La Masa), Stamperia di Venezia, Venice 1959;
Exhibition of the awarded artists from 1952 to 1959, catalog of the exhibition (Venice, Galleria Bevilacqua La Masa), Printing house of Venice, Venice 1959;
48th collective exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Galleria Bevilacqua La Masa), Printing works of Venice, Venice 1960;
Archive of the Bevilacqua La Masa Institution, Collective Annual Exhibitions Series, envelope 91, 1984;
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Those admitted to the Bevilacqua La Masa collective. The traditional Christmas exhibition, in "Il Gazzettino", 14 December 1961;
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49th collective exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Galleria Bevilacqua La Masa), Stamperia di Venezia, Venice 1961;
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Collective exhibition at the "Canale" of excluded artists, in "Il Gazzettino", 22 December 1965;
The 54th Collective Review inaugurated at Bevilacqua, in "Il Gazzettino", 22 July 1966;
54th collective exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Galleria Bevilacqua La Masa), Stamperia di Venezia, Venice 1966;
The group show opens at Bevilacqua La Masa, in "Il Gazzettino", 22 December 1967;
55th collective exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Galleria Bevilacqua La Masa), Stamperia di Venezia, Venice 1967;
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The Bevilacqua La Masa Collective is open, in "Il Gazzettino", 24 December 1953;
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40th Collective Exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Sala dell'Opera Bevilacqua la Masa all'Ascensione, 23 December 1952 -31 January 1953) Comune di Venezia, 1952;
41st Collective Exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Sala dell'Opera Bevilacqua la Masa all'Ascensione, 23 December 1953 -31 January 1954) Municipality of Venice, 1953;
43rd Collective Exhibition of the Opera Bevilacqua La Masa, exhibition catalog (Venice, Sale dell'Opera Bevilacqua La Masa all'Ascensione, 23 December 1955 - 30 January 1956), Venice 1955;
XXXVI Collective Exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Sale dell'Opera Bevilacqua la Masa all'Ascensione, 8 December 1948- 9 January 1949) Municipality of Venice, 1948;
XXXVII Collective Exhibition of the Opera Bevilacqua La Masa, catalog of the exhibition (Venice, Sale dell'Opera Bevilacqua la Masa all'Ascensione, 15 November - 15 December 1949) Municipality of Venice, 1949;
XXXVIII Collective Exhibition of the Opera Bevilacqua La Masa, exhibition catalog (Venice, Sala Napoleonica, 28 October-30 November 1950) Comune di Venezia, 1950;
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Chronicle 1947-1967, Galleria "Opera Bevilacqua La Masa", Venice 1984, pp.124-125 ill;
F. Edited by G. Mazzariol, exhibition brochure, Galleria Il Traghetto, Venice 1989.
Painters from Venice
Italian male painters
People from the Metropolitan City of Venice
20th-century Italian painters
21st-century Italian painters
1929 births
2022 deaths