{"id":2562,"date":"2014-06-09T18:11:53","date_gmt":"2014-06-09T18:11:53","guid":{"rendered":"http:\/\/www.robertobosco.eu\/?page_id=2562"},"modified":"2014-06-09T18:12:39","modified_gmt":"2014-06-09T18:12:39","slug":"biography-of-roberto-bosco","status":"publish","type":"page","link":"https:\/\/www.robertobosco.eu\/en\/biography-of-roberto-bosco\/","title":{"rendered":"Biography of Roberto Bosco"},"content":{"rendered":"

BIOGRAPHY OF ROBERTO BOSCO<\/h1>\n

\"biografia-roberto-bosco\"Roberto Bosco was born in Rome on July 8, 1951.
\nHe leaves to go to Paris at a young age and begins, among many difficulties, his artistic activity, dividing his days between painting and literature.
\nIt\u2019s 1968, and the French metropolis is the epicenter of the student protest. It\u2019s a period full of cultural and political strain. The left bank of Paris is a breeding ground of ideas and a continuous boiling of plans and hopes. Here, Roberto Bosco takes his first steps, and more than thinking about the protest, he thinks about art, frequenting the museums where he comes to know the works of the great artists of classic and modern painting. He\u2019s a loner, an individualist who passes his days immersed in the study and elaboration of different compositional techniques. In the meantime, he also prepares his exams to graduate with a major in modern literature.
\nOnce back in Italy, he collaborates as a radio author with RAI, who he also writes for. In ten years\u2019 time, he writes dozens of radio plays and is also the director of some of them.
\nPainting and literature go hand in hand. In the 1970\u2019s, his paintings are exhibited with success in London and Paris, and some dealers buy and propose them to different galleries in the world.
\nRoberto Bosco profoundly loves art, enough to make it his reason for living.
\nHe sacrifices everything for his art, and like artists of another time, never compromises. His existence revolves around words and colors, not allowing other work activities that are offered him to interfere-only making one exception of teaching literature at a high school in Rome for a few years. Roberto Bosco\u2019s life is an adventure, a continuous battle of survival. His livelihood is entrusted exclusively to the sale of a painting, writing a radio play, or to the good heart of his partner. In the 1980\u2019s and 90\u2019s, he sojourns many different times in Paris, finding a point of reference in the MAN ART Gallery that sells many of his works, mostly to Americans and Japanese. But the difficulties are many and concrete acknowledgements are hard in coming because in that period of time, figurative painting is overshadowed by abstract and conceptual art.<\/p>\n

\"roberto-bosco-al-lavoro\"La vita d\u2019artista non \u00e8 stata mai facile ma ora, nell\u2019epoca del consumismo e della tecnologia pi\u00f9 esasperata, \u00e8 quasi impossibile. Il mercato dell\u2019arte e la critica rendono sempre pi\u00f9 confusi i rapporti tra i creatori dell\u2019opera e i destinatari: c\u2019\u00e8 in atto una sorta di degenerazione che porta allo smarrimento di tutti i punti di riferimento.<\/p>\n

Roberto Bosco doesn\u2019t give up, however, and continues his research of color and the form of classic descent, reworking formal and expressive forms that tell of the human and historic complexity of the end of the twentieth century. For him, figurative painting still has a lot left to say, and lives the various experimentalisms of the era as an offense to the sentiment of beauty: harmony, wisdom, and creative honesty.
\nThe life of an artist has never been easy. But now, in the era of consumerism and ever more extreme technology, it\u2019s almost impossible. The art market and criticism make the relationship between the creators of the work and the recipient even more confused: there\u2019s a sort of degeneration in action that leads to the disappearance of all the points of reference.
\nRoberto Bosco, despite all of this, continues to work, guided exclusively by his perception of harmony, balance, and intellectual coherence that have always set him apart. Finally, in the new millennium, some things start to change, and some things assist the rediscovery of the value of figurative art. Roberto Bosco in this way begins to reap some fruitage from his long commitment. His meeting with Mr. Leopoldo Chizoniti, manager and expert organizer of artist events, marks a turning point. Their collaboration, based above all on friendship and professional respect, produces a series of occasions for exhibitions that culminate in the project \u201cBEYOND THE BORDER \u201d (OLTRE CONFINE) which results in three prestigious exhibitions at the Today Art Museum in Peking, at Doha \u201cQatar\u201d and in New York. The events in Peking and Doha received a great success and public esteem in the months of May and June 2012; in the meanwhile we\u2019re negotiating with New York for an event in the year 2014.
\nIn 2013, from February 15th to April 15th, we were hosted at the Georgia Berlin Galerie in Berlin, obtaining a great success, both critical and commercial. From the 23rd to the 26th May we took part in the \u201cArt Basel Hong Kong\u201d International Art Exposition in China.
\nFrom December 19th 2013 to January 26th 2014 an exposition will take place at the Contemporary Art Museum \u201cMACRO\u201d Testaccio, in Rome.
\nIn 2014, a new prestigious event will take place: Maestro Roberto Bosco will expose his works at the \u201cChengdu Art Fair International \u201c in Rome, in April.
\nThe work that one has to confront, so that everything goes well, is complex and requires great economical strain: exhibiting in two prominent museums is a difficult operation that presents difficulties of every type every day, but are confronted with determination and great professionalism.
\nIn the meantime, the major Italian newspapers and specialized magazines publicize the event. The artist\u2019s quotes in the catalog of Modern Art, edited by Giorgio Mondadori, put him on a much higher level. After many years of work, Roberto Bosco is now an artist whose value is recognized not only on an economical level, but also by distinguished critics like Paolo Levi, Thomas McEvilley, Claudio Strinati, Tommaso Strinati, Wuang Duanting, and Luca Misiano.<\/p>\n","protected":false},"excerpt":{"rendered":"

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