The relationship with the major cultural issues of his time has always set apart the articulated and complex artistic research of Master Roberto Bosco. His work has never been released from a sentiment not fully oriented to a purely aesthetic purpose, but rather to social art; capable of gathering the changes and transformations in advance of which today we are all spectators and amazed protagonists.
Roberto Bosco’s activity, after his first experiences in Rome as a young man influenced by the great classic models, moves to Paris for long years of work.
It’s really these last few years that mature his conception of the bursting actuality of a humanity destined to confront and deal with the existential crisis, caused by the incapability of managing and controlling all of the ethical and economical models it has generated and that have marked and literally shaped our recent history.
From this review and historical reflection of our lifestyles, the Roman artist had sensed these first signs more than twenty years beforehand.
Along with the appearance of this new era of thought still to be discovered and defined, Bosco gives us a message of infinite hope and courageous positivity directed to the observation of the sign of the times, freeing himself from influences of aesthetic tradition, or rather, not making a preliminary and aprioristic use, but conceived on formal and stylistic bases designed to determine the existing with spontaneity in its becoming.
In front of his pictorial creations, you feel a strong sense of expectation and suspension in the time and space of the images.
This is a peculiar element of the Master, that which underscores a different socio-cultural path that would have to entail a new and different space-time relationship of human behavior.
Stylistically, the realism of the works of the French period transcends in a direction, not so much an exasperated objectiveness of reality of which one can voice his interpretation, but rather its intuitive and brilliant awareness of its own limitations.
Precisely in this moment of great cultural and artistic growth, Roberto Bosco starts the plastic-formal of whose full expression and maturity we are witnessing today.
Chromatic drawing modulated with increasingly structured tones, compositionally speaking, becomes in itself the “semantic” symbol of a regenerated code of signs that identify and characterize the contemporary man.
Man and the city, two essential elements of Roberto Bosco’s artistic creations; the two sides of the coin whose relationship is love and conflict at the same time, expressed in all of its essence.
Metropolitan reality will be the scenic backdrop of his work from the Paris years, constantly present and updated.
For an artist, this represents the temple of excellence of the human ambition to celebrate oneself but with the growing awareness of losing oneself and disappearing into the din of acoustic stress and luminous spots that are an integral part of the emotional and psychological dimension of a society that struggles with the growing need of affirmation of itself on the outside world.
The city is imprinted on the canvas with quick and textured brushstrokes of prevalently monochrome colors.
The artist captures the bursting prominence and grandeur, arranging them with chromatic vertical and horizontal backgrounds.
Strong and fringed Cartesian coordinates effectively communicate and arouse in us a profound reflection about the limits of blind and boundless faith in human logic, that can obscure its spiritual and primitive nature: its own humanity.
Compared to the delicate intimacy of French paintings of the period still tied to stylistic values associated with more traditional plastic-figurative, in Roberto Bosco’s recent works, the figure is to undergo a marked process of meticulous stylization.
This is the aesthetic experience of the full artistic maturity of the painter, whose forms appear instantly seized by the surrounding urban fabric and materialized on the canvases with the same force and speed of which we are constantly incited.
The human figure researches and rediscovers the deepest meanings of its very being in slender and elongated forms: chrysalis of a spiritual tension of “metropolitan Gothicism” that becomes the very icon of our time.
