Francesco Scarpabolla (Venezia 1902 - Ivi 1999)
He received the diploma of teaching R. School of Art in Venice to teach sculpture and attended courses at the School of Free Nude at Venice.
He exposed several times to Biennials in Venice and subsequently invited. It 'been reported with the work "Icarus" at the Biennale and invited the Sculpture Exhibition of Italian organised by the Biennale in Vienna.
He made numerous medals and works such as: bust of Cesare Balbo, monument by Pier Luigi Penzo, chest of David Giordano, bust of Viel, bronze stone dedicated to all wars and many others.
Paolo Rizzi wrote: "... .. Francesco Scarpabolla is the continuation of this tradition of sculpture in Venice ... How is this venetian sculptor? He himself has shown the great source: the Parthenon Phidias ... .. but not enough. Scarpabolla makes another reference to Michelangelo.
... Scarpabolla has a natural gift: it is that guides his hand in shaping the forms, slotting in the clay, the inspiration of the formless matter. In this way, we can say that he is a successor of the great nineteenth-century tradition of the greats as Trubetzkoi, Dal Zotto, Bazzaro, Calandra, Gemito Rodin. Their sculpture seeks the vividness of reality through the exact likeness, but also a kind of ease, of "improvisation". Lights and shadows, flashes of light and shade, rapid modelling, sensitivity to surfaces, "coloring" plastic are all factors that, filtered by the study, Scarpabolla has in his mind. The culture is this. Scarpabolla can not rightfully part of the best examples of a plastic Italian, born in the thirties on the heels of Arturo Martini and is now famous throughout the world: as Minguzzi, Greco, Murer, Leoncillo etc. There is in him the making of modernity and at the same time, an ancient sense, a kind of empathy in older models of the past. The fact is that Scarpabolla appears immediately as a very able to laminate: a model of exquisite forms, with a very rare skill.
If he is the clear rejection of any avant-garde, not least of all the experiences of the century have concerned: including cubism, while outside his conception of sentimental rendering of the subject. ... Gradually over the years the plastic melts Scarpabolla acquires the strength of the waves, rising gently variegated forms of radiant light to the most recent examples of forms and moves snappy, lively in posture and modelling. He feels, in fact, touches on the clay, which is never inert, but still tense, brilliant, sensitive."
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