It is a peculiar experience to watch Lorenzo Fonda’s works. Just in the moment we are moved by the rough fate and firm will of the Greek hero Ulysses， we are also attracted by the form of the abstract expressionism and the spirituality it conveys. Fonda’s paintings are not obedient to successful forms of the predecessors. For him， borrowing ancient myths or strong colors， colliding in blocks with visual forms， are all representations of his deepest thought and spirit.
《快，来这里！(Su via， qua vieni)》， 洛伦佐·方达 Lorenzo Fonda， 纸、画布及木板油画和坦培拉 Oil and tempera on paper， canvas and panel， 200.5x340.5cm， 2007
There is no need to define whether Fonda’s art belongs to modernist art or contemporary art， because Fonda is free. For him， painting is not only an artist’s personal behavior， but Fonda doesn’t want to force the viewer to keep pace with his thoughts. His painting just exposes himself and the world in his works in front of the viewer to attract you to question or think.
As China’s first private art gallery to engage in abstract art and experimental art exhibitions， after 12 years of exploration we are still young， but our direction toward avant-gardist art at Yuan Art Museum has never changed. The expression of freedom， power， the conflict of forms and the paradoxical harmony in Fonda‘s works will be a new experience.
《水——行进在外海巨浪中 (Acqua – per l’alto mare aperto)》， 洛伦佐·方达 Lorenzo Fonda， 木板油画 Oil on panel， 125x250cm， 2018
In the meanwhile， 2020 has been the year when everything in our lives has been impacted by the coronavirus pandemic. In the post-2020 era， even meaning and direction of art evolution will be inevitably pushed to certain changes.
Through Fonda’s exhibition， with the strong support of the Embassy of Italy to the PRC and the Italian Institute of Culture， we are able to establish this precious dialogue with those artists， curators and many friends， who cannot even come to China now， because of the pandemic. And it is extremely valuable to open this dialogue on artistic creation， experiments， ancient European civilization and non-stereotyped art.
This year coincides with the 50th anniversary of the establishment of diplomatic relations between China and Italy. At this important and special historical moment， we are deeply honored to make our contribute with the art to the dialogue between China and Italy， as well as to human civilization and hope.
Undoubtedly， the return of Ulysses and Prometheus will bring a string of hope and comfort to the mankind， who is now so affected by the virus and its pandemic.
谷燕 Gu Yan
Director of Yuan Art Museum
《土 (Terra)》， 洛伦佐·方达 Lorenzo Fonda， 木板油画 Oil on panel， 125x250cm， 2018
Born in Istria (Piran) in 1947， Lorenzo Fonda and his family moved to Trieste as exiles when he was just five years old. This traumatic event contributed to the development of an indomitable nomadic spirit.
After the death of his father in 1963， Fonda went to Paris at just sixteen years of age， drawn by the life and work of Toulouse Lautrec， Picasso and Modigliani. He devoted endless days to studying the masterpieces of great artists at the Louvre， where Caravaggio’s Death of the Virgin struck him like a flash of lightning.
《圣母之死 (Death of the Virgin)》， 米开朗基罗·梅里西·德·卡拉瓦乔 Michelangelo Merisi da Caravaggio， 369x245cm， 1601-1606
His laborious journey and endless research continued， and in 1980 he met Alberto Burri (1915–1995)， sparking off a professional and personal friendship that lasted years. Surrounded by this exceptional mix of influences， he developed self-awareness while searching for his own style， a poetics rich in mystery and symbolic references.
Fonda’s career proceeded steady and sure， packed with successes and extraordinary encounters with intellectuals， artists， actors， singers and entertainers， as well as the rulers and political leaders of lands near and far.
Since 1988， he has designed the official poster for the annual Umbria Jazz Festival. 1988 was also the year that he began his activity as a set designer， with the sets， the first in a long series， for a play by the actor and director Giorgio Albertazzi (1923–2016)， Dannunziana.
《邓南遮女性 (Dannunziana) 》
For the American director and actor Robert Redford， he painted the work that became symbolic of the USA/USSR summit， Green Glasnost (1989).
In the early 1990s， the nomadic spirit that defines his sense of belonging in the world led Fonda to move to Jordan， where Queen Noor commissioned him to create a series of large paintings for King Hussein of Jordan.
Between 1995 and 1996， the artist concentrated on producing a series of large paintings expressing the history of Jordan.
Between 2000 and 2001， sponsored by the Embassy of Italy in Australia， major solo exhibitions of his work were held at the University of Sydney， in Melbourne and in Brisbane. He has also enjoyed considerable success in the United States， where his paintings can be found in various private art collections.
Returning to Italy， drawn by the opera world， he directed and designed the sets and costumes for Verdi’s Don Carlo at the Sferisterio in Macerata in 2005. He also designed the sets for the production of Richard Strauss’s Salomè that opened the 2007 opera season at the Teatro dell’Opera in Rome; directed and designed the sets and costumes for Verdi’s Don Carlo at the Tampere Theatre in Finland in 2009 and designed the sets and costumes for Mascagni’s L‘amico Fritz at the Teatro Verdi in Trieste in 2012.
Church patrons have commissioned him to create numerous monumental religious paintings. One of them， a Vatican commission in connection with the Pontificio Consiglio della Famiglia， led to a meeting with Pope Francis in 2014.
He has held numerous solo exhibitions outside Italy: Antwerp (Campus Gallery， 1972)， Washington D.C. (Andreas Galleries， 1984， 1986， 1989 - Italian Embassy， 2007)， New York (Di Laurenti Galleries， 1987)， Bonn (Galerie Villa Rolandseck， 1993， 1994， 2004)， Melbourne (Arts sans Frontier Gallery， 2000)， Sidney (University of Sidney， 2000)， Brisbane (Medusa Gallery， 2001)， Vienna (Italian Cultural Institute， 2007).
In 2011， he was invited to display his work in the Italian Pavilion of the 54th Venice Biennale. For Expo 2015， he displayed four large paintings alongside works by other important Italian artists in the Italian Pavilion for contemporary art in Aichi， Japan.
Some of his most important paintings are found in the Farnesina Art Collection， the prestigious permanent collection of Italian art of the Italian Ministry of Foreign Affairsand International Cooperation.
阿尔贝托•马扎切拉 Alberto Mazzacchera
Art consultant and curator of exhibitions in private galleries and museums in Italy and Europe， focused for the most part on modern and contemporary art.
A scholar and art advisor for important collectors， he has authored numerous volumes， essays and videos on art history and criticism.
Councillor to the Minister of National Heritage and Culture during the second Prodi government， he then served as the culture expert for the Cultural Heritage and Activities Councillor of the Region of Marche. He also served as a member of the Regional Culture Observatory of the Region of Marche and advisor to the Teatro Stabile of Marche.
He has promoted and coordinated the restoration of more than 160 works of art on public view (altar pieces， old paintings， frescoes， statues， parade standards， stucco work， stone doors， wooden ceilings， wooden choirs， marble and wood architectural altar structures， old organs and etc.). He has conceived important regional projects that led to the restoration of major buildings and monumental complexes， particularly in Marche.
He has recovered important works of art including the large sixteenth-century fireplace by Ammanati， which had been taken to Washington D.C. in the early twentieth century， the vast cycle of fourteenth-century frescoes by Mello da Gubbio in the church of San Francesco in Cagli， covered over in the sixteenth century， and the altar piece by Gaetano Lapis carried off by Napoleon’s supporters in 1811 and put back on the high altar of the church of San Niccolò in Cagli.
He has received numerous awards and honours for his work， including personal mention in the awarding of the Premio Rotondi ai salvatori dell’arte (National Rotondi Award for Art Rescuers) and conferral of the title Officer of the Order of Merit of the Italian Republic.