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.