La scultura di Riccardo Ripamonti (1849-1930) tra impegno civile e protesta sociale

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Articolo

rivista	ARTE LOMBARDA
fascicolo	ARTE LOMBARDA - 2009 - 3
titolo	La scultura di Riccardo Ripamonti (1849-1930) tra impegno civile e protesta sociale
Autore	Cristina Casero
Editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	03-2009
issn	0004-3443 (stampa) \| 2785-1117 (digitale)

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Descrizione
The activity of Riccardo Ripamonti (Milan, 1849-1930), a key figure of Lombard sculpture between the end of the 19th and the beginning of the 20th Century, has to be placed among the most thought-provoking facts in Italy at the time, both on a formal and on a content-related level. Nonetheless, Ripamonti’s life and work have been long forgotten by art historians, as well as by his contemporaries. It is then very interesting to trace the evolution of his sculptural production, beyond his best-known work – the monument to Missori still placed in the homonymous square in Milan – finding a coherent thread in a consistent tension between civil commitment and explicit social protest. Such delicate balance finds its expression in a style of Verist derivation, occasionally sketchy, more often sustained by a more evident Realism, as in the case of Miscarriage of Justice, presented at the Milan Triennale of 1891, which distinguished Ripamonti as one of the most interesting actors in the tendency of Social Realism, very common in Italy, and particularly in Lombardy, during the last decade of the 19th Century.

Descrizione

The activity of Riccardo Ripamonti (Milan, 1849-1930), a key figure of Lombard sculpture between the end of the 19th and the beginning of the 20th Century, has to be placed among the most thought-provoking facts in Italy at the time, both on a formal and on a content-related level. Nonetheless, Ripamonti’s life and work have been long forgotten by art historians, as well as by his contemporaries. It is then very interesting to trace the evolution of his sculptural production, beyond his best-known work – the monument to Missori still placed in the homonymous square in Milan – finding a coherent thread in a consistent tension between civil commitment and explicit social protest. Such delicate balance finds its expression in a style of Verist derivation, occasionally sketchy, more often sustained by a more evident Realism, as in the case of Miscarriage of Justice, presented at the Milan Triennale of 1891, which distinguished Ripamonti as one of the most interesting actors in the tendency of Social Realism, very common in Italy, and particularly in Lombardy, during the last decade of the 19th Century.