Biography Lucio Andrich

Biography Lucio Andrich

His works appear in numerous Italian and foreign galleries
Accademia di Belle Arti di Venezia
Museo d’arte moderna – Cà Pesaro– di Venezia
Recinto 1962, acquatinta a colori, mm 497 x 650 (acquisto a Biennale 1962), Animali 1957, acquatinta maniera nera, mm 310 x 240 (acquisto 45° Bevilacqua La Masa) Cavallo selvaggio 1957, acquaforte acquatinta, mm 388 x 225 (acquisto Mostra personale Bevilacqua La Masa 1958) Gatti Veneziani 1958 acquaforte acquatinta, mm 382 x 315, (premio ex-aequo per l’incisione 46° Bevilacqua La Masa), Notturno, olio su tela, cm 85 x 58 (acquisto 47° Bevilacqua La Masa).
Galleria d’arte Moderna di Verona
Museo d’arte Moderna di Boston-U.S.A.
Galleria d’arte contemporanea della Pro Civitate Christiana di Assisi
Museo d’arte Moderna di Pisa
Galleria Nazionale d’arte moderna e contemporanea di Roma
Museo Andrich, Torcello

… His work … is interesting for the spirit of lively fantasy, of imagination with a very spontaneous sense of the story, sometimes fairytale, in a vision charged with transfigurative momentum in the stormy and wild unreal atmosphere, in which his rebellious horses and his monstrous bulls …
Giorgio Trentin
(catalog of the 2nd Biennial of Contemporary Italian Engraving – Venice 1957)

… The spatial and dynamic sense that permeates his creations … the skill with which he exploits the characteristics of aquatint, the flavor of the game of blacks, whites, grays, freedom and at the same time the subtle calculation of his creations, make him worthy of a lot of attention and make him a true class Juventus player.
Mario Lepore
(Information courier November 21, 1961)

… He is one of the best known young engravers, gifted with an intricate fantasy of reality and imaginations, with a continuous balancing act on the realms of the fable.
Marco Valsecchi
(The Day, December 6, 1961)

… And while probing the mystery of partially random solutions and soliciting encounters with the fortuitous event, he searches in the ambiguous polyvalence of the sign and in the unsatisfied experimentation of new techniques for the terms of an unusual language open to any possible integration.
Carlo M. De Paola
(Catalog of the XXXI International Biennial of Art – Venice 1962

… Rarely has the whole of a work appeared so coherent and autobiographical, so revealing of an analytical and poetic journey, that it finds its most defined expression in the last metamorphosis, that of the artist in a figure half crowned man and half fish, on the most important of his tapestries. What if the new Doge of the lagoon was called Lucio Andrich?
Olivier Boré
Prof. Historien d’art Paris
(Silk, Earth, Water Catalog “Lucio Andrich and the Venice lagoon” Massimiliana Tower Venice 2005)

… The Silks …, performed not in embroidery like the aforementioned tapestries, but by superimposing layers of fabrics cut out in certain points to bring out the underlying layer – a method that can be said to be analogous to the spared technique of Greek vase painting – … whose dominant characteristics they can be ascribed to the creation of inspirational models derived from a geometric abstraction which is certainly a reflection of the experience of the artistic movements after the 1960s, variously referred to as second avant-gardes. Although they also reflect the graphic taste of that essential line that has been the leitmotif of all his works, from the 1980s also enriched by the production of glass made by casting and plumbing … In them the signs somehow sometimes still echoing shapes organic and anthropomorphic, played on curved lines and open divisions create direct references to the designs of the silks, whose bright colors are contained by edges that frame them as frames …. The house of Lucio Andrich in Torcello, which for the peculiarity of the place I liked to approach the Casa del Mago in Rovereto in a variety of ways, and it is still a vital place today. The memory of this space inextricably linked to the thirty years spent here by the artist seems to celebrate its link with the territory in the tapestry of Lucio and Clementina Le Saline, inspired by the island of the salt flats which is part of the lagoon area. The pink colors of which appear among those chosen by the artist for the embroidery threads of this non-tapestry tapestry.
Ivana D’Agostino
Prof. Art Historian Academy of Fine Arts Venice
(Silk, Earth, Water Catalog “Lucio Andrich and the Venice lagoon” Massimiliana Tower Venice 2005)