Franco Rognoni was a distinguished Italian painter, born on September 20, 1913, in Milan, to Giuseppe, a commercial agent, and Giuseppina Carabelli. His family was of petit-bourgeois origins, and although they faced economic hardships, Rognoni's passion for art was evident from an early age. Despite his interest in drawing and painting, he pursued a technical education to secure a stable future, earning a diploma as a textile expert and working in the Italian Cotton Industry. Rognoni's artistic journey began in earnest when he attended evening classes at the Castello Sforzesco Higher School of Art in Milan. His talent was soon recognized, and by 1934, he was working as an illustrator for prominent magazines and newspapers. His first exhibition took place in 1938, marking the start of a prolific career that would span over six decades. Influenced by the likes of Sironi, de Pisis, Modigliani, and the German Expressionism movement, Rognoni developed a unique anti-academic language in his art. His work often explored the dichotomy between inner and external spaces, the citizens and the city, and the human condition within urban environments. He was known for his eclectic style, incorporating elements from various artistic movements and creating a body of work that was both deeply personal and reflective of the broader cultural landscape. During World War II, Rognoni found refuge in Luino, on Lake Maggiore, where he continued to produce engravings and illustrations, maintaining important collaborations with periodicals, publishers, and collectors. After the war, he returned to Milan and married Mariuccia Noè in 1946, sharing significant cultural interests with her for the rest of their lives. Rognoni's work as a scenographer for Italian television, the Scala Theatre, and Fenice Theatre had a profound impact on his painting style, blending elements of decoration, illustration, graphic design, and scenography. This multidisciplinary approach enriched his artistic vocabulary and allowed him to create works that were both visually striking and thematically complex. In the 1960s, Rognoni's career flourished with numerous exhibitions and continued work in publishing. The following decades saw a shift in his focus towards a critical examination of the human figure and the city, which he often depicted as an alienating and sick place. However, he also explored dreamier themes, such as the serene landscapes of Lake Maggiore, which served as a counterpoint to his urban scenes. Rognoni's later works in the 1990s were characterized by a renewed vitality and an emphasis on color. His style during this period leaned towards Central European Symbolism and Expressionism, demonstrating his ability to evolve and adapt his artistic expression throughout his life. Throughout his career, Rognoni remained committed to the idea that art should convey not just aesthetic beauty but also an inner ethic. He believed that this approach would ensure the longevity and relevance of his work beyond changing aesthetic tastes. His paintings, often featuring subjects like Venice, suburbs, cities bustling with people, and still lifes, are a testament to his vision and his ability to capture the essence of his time while transcending it. Franco Rognoni passed away on March 11, 1999, in Milan, leaving behind a legacy as a masterful painter who was deeply connected to the cultural and artistic currents of the 20th century. His works continue to be celebrated for their lyrical quality, emotional depth, and enduring modernity.

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