MORENA Alberico

Alberico Morena | Original prints, lithographs, etchings and illustrated books

 

 

BIOGRAPHY

Born in Gubbio in 1926, Alberico Morena lives and works in Spoleto. He attended the specialization course of the State Institute of Fine Arts in Urbino, the famous "School of the Book", graduating in 1946 under the guidance of Francesco Carnevali. From 1951 to 1956 he taught Tipographic Technology in the School for Graphic Arts in Città di Castello. He moved to Spoleto in 1956 and directed the local Institute of Art from 1961 to 1977.

Since the early works Morena has focused on its own poetic world and its congenial figurative language, never disproving it during more than fifty years. This is attested by a woodcut of 1946 (La corsa dei ceri in Gubbio), performed when he was still a student and already inspired by the values ​​that would have nourished his imagination as a painter and above all a woodcut engraver prone to the story, between absorbed and pungent, private acts and of the collective events transposed on paper or canvas from the limelight of the streets and squares to the family artist, where daily life is consumed, take on the exemplary character of the visual apologue.

The formative years spent in the prestigious Istituto Urbinate Morena owes his love for the severe art of engraving on head wood and the conviction that the "trade" is an integral part of the creative process. It must be said that Morena soon acquired and refined her technique to achieve results of absolute originality and quality, exquisite for the "tonal" rendering of the rich gradation of grays in the woodcut, of the colors clearly painted in painting. He has also been able to keep to his own scores the sobriety of visual enunciation that gives naturalness to his suspended lyrical world. Morena has dedicated himself to painting in parallel and never in the margin of woodcut, in full thematic and formal correspondence, though with less diligence and without showing it, if not sporadically in youth competitions and exhibitions, for which the paintings from the Fifties to today [...] they are practically unpublished, unknown even to the most assiduous amateurs of his prints. This explains the reason why there are no references to painting in essays and articles dedicated since the early Fifties to his work. On the contrary, the poetic and linguistic peculiarities of woodcuts have been criticized several times, and always with unanimous and flattering judgment, highlighted and gratified with important awards in the sector's major awards, in Italy and abroad.

Numerous small and large "events" have woven the story of the artist: invitations, contests, national and international reviews, meetings, critical certificates, personal exhibitions and anything else habitually accompanies the path. In short, its "external" history. To which Morena has never paid much attention, not for snobbery or disdain, but for confidentiality, and perhaps also laziness towards aspects of the artistic system that all in all belong to a civil civilization, substantially alien to his poetic world, which is secluded and elective. [..].

Morena has always lived between Gubbio, Spoleto and Urbino. In Spoleto, in his capacity as director of the Art Institute, he lavished a loving commitment in teaching, not dissimilar to that reserved for the beloved art of engraving and painting. Having set its own "geography" of life between Umbria and the Marches, against the background of a gently undulating landscape in which the sedimented signs of the civilizations that have flourished are diffused and legible, Morena has created an ideal "topography" limelight in which to stage the human story, to tell it with soft and ironic accents and a sense of poetic truth that the gaze, kidnapped, exchanges in metaphysical amazement. Faithful to this spirit, he thinks that the true biography of an artist is that delivered to the works.

These appear in numerous Italian and foreign private collections. Among the main public collections: Opera Bevilacqua La Masa, Venice; Gallery of Modern Art, La Spezia; Gallery of Modern Art, Piacenza; National Nuseum, Stockholm; Goteborg Kunst Museum, Goteborg; Hunting Museum of Villa Ciani, Lugano; Library of Congress, Washington; New York Public Library, New York; Cleveland Museum of Art, Cleveland; Brooklin Museum, New York; Museum of Modem Art, New York; Philadelphia Museurti of Art, Philadelphia; The Print Club, Philadelphia; Civic Collection of Prints Bertarelli, Castello Sforzesco, Milan; National Calcography, Rome; Museum of Xylography, Carpi; Antique and Modern Prints Cabinet, Municipality of Bagnacavallo.

 

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ARTWORKS