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Technique: oil on canvas

Light source - Ex.: Monochromatic, Two-color Polychromatic
Genere - Es.: Fantasy, Still life, Religious, Landscape Nude
Subject represented - Ex.: Horses, Fruit, Cats Nude of woman
Artist data
Artist experience - Ex.: Emerging, Expert Expert

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Ex Tax: €1,200.00
  • Availability: Unavailable
  • Dimensions: 50misura x 0misura x 70misura
  • SKU: GiRa0022


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Giorgio Ravazzolo
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1989 Collettiva e Concorso 5 0 Premio Valledolmo.
1995 Collettiva e Concorso 7 0 Premio Valledolmo.
1995 Collettiva e Concorso Città di Villafranca 4 0 Premio.
2006 Premio Nazionale Liolà, Palermo
2006 Premio Internazionale Taormina 6° (su 250 pittori)

Giorgio Ravazzolo è nato a Padova nel 1926.

Pittore e incisore, si è trasferito durante la seconda guerra mondiale a Palermo, poi ha vissuto per diversi anni in Brasile, a Rio del Janeiro, S Paolo, Belo Horizonte, frequentandovi come uditore i corsi di disegno, pittura e incisione all’Accademia di Belle Arti. In seguito, rientrato a Palermo, ha frequentato la scuola Libera del Nudo presso l'Accademia e dove ha fondato l'Associazione Culturale Centro Arte Contemporanea "Nuovo Spazio" di cui era presidente.

Ha tenuto numerose mostre personali, fra le più importanti si citano quelle di Palermo (1989 Galleria "il Capitello" 1988 Villa Garibaldi 1989 Villa Niscemi), Castelbuono (dal 2000 al 2003 ex Chiesa del Crocefisso), Alcamo (2000, Centro Congressi Marconi). Taormina (dal 2000 al 2003 ex Chiesa del Carmine), Ha partecipato a moltissime collettive, estemporanee, rassegne di murales (a volte anche come organizzatore) a Palermo, Catania, Cefalù, Termini Imerese, Motta d'Affermo, Taormina, Valledolmo, Monreale, Villafranca, Terrasini, Melilo, Porto Salvo, New York (Art expo), etc.

Ha ottenuto premi e riconoscimenti di rilievo, fra cui si ricordano premi acquisto relativi alle edizioni 1989/90/94 del Concorso Valledolmo, ai concorsi di Villafranca Tirrena e "Cappelle Votive" di Terrasini nel 1995 e al concorso di Murales di Chiusa Sclafani nel 1996.

Critici: F. Carbone, D. Ales, V. Di Vita, G. Cappuzzo, S. Baiamonte, V. Sgarbi, S. Perdicaro, F. Granata, G. Lo Porto, S. Serradifalco, G. Mendola, C. Bisazza, P. Schifano, R. Velardi

Recensito su giornali, riviste e pubblicazioni d’arte, sue opera sono in collezioni pubbliche e private in Italia Germania Canada, Stati Uniti.

Formazione artistica: Accademia di Belle Arti di Palermo; Corso Libero del Nudo 1992-1995, 2002.

Fondatore e presidente dell'Associazione Culturale Centro d'Arte Contemporanea "Nuovo Spazio. Soggetti: nudi, ritratti, paesaggi e nature morte.

Tecniche: olio, acrilico, incisione e scultura.


1989 Collective and Competition 5 0 Valledolmo Prize.
1995 Collective and Competition 7 0 Valledolmo Prize.
1995 Collective and Competition City of Villafranca 4 0 Prize.
2006 Liolà National Award, Palermo
2006 Taormina International Prize 6th (out of 250 painters)

Giorgio Ravazzolo was born in Padua in 1926.

Painter and engraver, he moved to Palermo during the Second World War, then lived for several years in Brazil, in Rio del Janeiro, S Paolo, Belo Horizonte, attending the drawing, painting and engraving courses at the Academy of Fine Arts. Later, upon returning to Palermo, he attended the Libera del Nudo school at the Academy and where he founded the "Nuovo Spazio" Contemporary Art Center Cultural Association of which he was president.

He has held numerous personal exhibitions, among the most important are those in Palermo (1989 Galleria "il Capitello" 1988 Villa Garibaldi 1989 Villa Niscemi), Castelbuono (from 2000 to 2003 ex Chiesa del Crocefisso), Alcamo (2000, Centro Congressi Marconi) . Taormina (from 2000 to 2003 ex Chiesa del Carmine), He participated in many collective, impromptu exhibitions of murals (sometimes also as organizer) in Palermo, Catania, Cefalù, Termini Imerese, Motta d'Affermo, Taormina, Valledolmo, Monreale , Villafranca, Terrasini, Melilo, Porto Salvo, New York (Art expo), etc.

He has obtained important prizes and recognitions, including purchase prizes relating to the 1989/90/94 editions of the Valledolmo Competition, the competitions of Villafranca Tirrena and "Cappelle Votive" of Terrasini in 1995 and the Murals competition of Chiusa Sclafani in 1996.

Critics: F. Carbone, D. Ales, V. Di Vita, G. Cappuzzo, S. Baiamonte, V. Sgarbi, S. Perdicaro, F. Granata, G. Lo Porto, S. Serradifalco, G. Mendola, C. Bisazza, P. Schifano, R. Velardi.

Reviewed in newspapers, magazines and art publications, his works are in public and private collections in Italy, Germany, Canada and the United States.

Artistic training: Academy of Fine Arts of Palermo; Free Nude Course 1992-1995, 2002.

Founder and president of the Cultural Association Centro d'Arte Contemporanea "Nuovo Spazio. Subjects: nudes, portraits, landscapes and still lifes.

Techniques: oil, acrylic, engraving and sculpture.

Review by Vittorio Sgarbi

It must be the sun, its light, its heat, its indispensability in the life of animated beings,

the physical and metaphysical entity that constituted the greatest attraction in the life and art of

Giorgio Ravazzolo, elderly, consider the registry office, still young if we were to take him as a witness

the energy he transmits in his painting, born in Padua, but strongly determined to become

Palermo by adoption, as later happened, after a remarkable war in Brazil.

Ravazzolo's life, which I am told was rather troubled, but of which there is no echo

in his art of him. I guess it's not accidental; art has traditionally always been recognized as one

consolatory function, according to Freud the greatest available to man, capable of compensating and

mitigate the insufficiencies of life. For Nietzsche the world is irremediably chaos, and only art and

science are able to console us from the observation that he is not at all pleasant. We could

deduce that the compensatory mechanism has a proportionate functioning: the more you have

trust in the possibility of consolation, the more benefit one can obtain from it. That's what he must have

Ravazzolo fact: all the more the darkness of suffering and desperation has clouded his existence,

the more he sought the sun in the only realm where he believed he could find it, art. And I found it

undoubtedly. He makes us feel it even when we don't see it, he makes us feel it, because everything is there

paintings by Ravazzolo, aspires to be bathed in the sun, even what is found in the shade.

Temporarily, of course, because nothing in this world could do without the sun. Even

what is under water yearns for sunlight, exactly like what is above, with the sea which does not

hinders, but, on the contrary, he supports this attitude as if he were made of the same stuff as heaven. What

does Ravazzolo paint? What man has begun to paint since the dawn of time, nature in

all aspects of him, according to the imitative principle that was first developed by artists, the

mimesis. He also paints human beings, Ravazzolo, young and attractive women, to be more precise, but

they are not his most inspired works, too busy exhibiting exotic sensuality. What task does he set himself?

pictorially speaking, Ravazzolo? Capture the sunlight and spread it on what it represents,

treating it as an objective correlative of life, collects at least part of the emotion

primordial that arouses the perception of him to transmit it to the beholder. There is so much light in the works of

Ravazzolo, who is behind the colors there could be a glass plate, instead of a canvas. But the light, however

flow freely and blissfully among the forms of nature, must be able to fill them from within, without encountering them

resistance, a bit like Piero della Francesca did. For this purpose, Ravazzolo adopts an ad technique

hoc, from typographical synthesis (in a way that is ultimately not too far from certain Pop Art or some

hyperrealistic manifestation, despite the profound diversity of mutual intentions) careful to define

the essential and to limit the impact on the detail, so that it does not divert attention

from the absorbed vision of the whole, obtaining in this sense a sort of simplified realism, rather

updated to the taste of modernity, although it does not at all hide the debt towards the

past, especially if the subject - still life, for example - offers him the opportunity

We understand that this simplification, this reduction of nature to the idea of its recognizability

visual, without unnecessary frills, this extraordinarily flowing brightness that pervades it, not

usual, but clearly accentuated, to support regular bright colors, rarely affected by tones

intermediate or contrasted, as they would never appear to us in reality, they are all foods that place us in a

precise process, the one that leads from optical reception to the mental formulation of it, and then

reach the subsequent final translation into pictorial logos. Everything is perfectly natural, but

nothing is really like in nature. If anything, we are faced with an artificial, mediated, revisited nature

based on reflection. Nature relived by a soul who turns it to other souls, trusting

in the solidarity of the human race in the face of the usual, inexhaustible wonder of creation.

Review by Salvatore Perdicaro

Giorgio Ravazzolo's paintings are conceived with a clear, fresh, lively figural language, in which

the modulation of shapes and colors achieves an intense expressiveness, often enriched by poetics

intuitions. Vital painting, vibrant in rhythms and colours, it winds through various thematic areas,

naturalistic and otherwise, among reassuring paths of beauty, which the artist makes us rediscover with emotion. He is there

often presents images of nature in environments or composed in incomparable sets of “natures

death", landscapes of Sicily or other areas, where the industrious action of man does not overlap

to the order of things, but takes place in harmony with them; figures, female nudes, portraits that document

interest in human problems and psychological introspection. Ravazzolo internalizes the narrative

aesthetics, giving voice to moods, feelings, suggestions of a lyrical perception. He is

fascinated by harmony, by the chromatic magnificence, by the perfection of what he observes and these qualities

exalts above all through an extraordinary pictorial orchestration. Intense colors, now contrasting

now elaborated with tonal gradualisms, between well-balanced lights and shadows, they support the shapes and planes in one

skilful play of effective rhythmic alternations, reconstructing the dynamics of the visions, the atmospheres, the

symbols that fuel this painting, in which the soul of a true artist is reflected, and in his

creativity manages to condense his boundless love for life and beauty.»

Review by Giovanni Capuzzo

Giorgio Ravazzolo, exuberant and restless by temperament, through a long and laborious

process of assimilation and synthesis, he managed to mediate the various elements of his rich and

adventurous experience of him, finding his most personal and personal rhythm in the works of recent years

authentic, his spiritual measure of creator and the excellence of an art capable of mediating nature and

spirit, the turgidity of passions and senses with fantastic and contemplative clarity, the torment of

new with the truth of tradition. In fact, it is noticeable in his works, beyond the often insinuating charm

of certain sometimes daring scenography, the conquest of a free and new space, its ability to

structuring visual sensations according to an entirely mental order with a direct, undoubted balance

visual effectiveness. The balanced and harmonious graphic sign in fact captures the sense of a reality seen with

enchanted eye, whether the theme represented is the villager or the female nude in harmonic rhythm

of shapes or a still life in the balanced juxtaposition of the same morphological structures

The lively chromatic range of his palette intervenes to give the necessary creative boost

timbral effusions of ideational depth, sometimes materially restless, in a line-color relationship

infinitely variable, but in the name of a true stylistic reason governed by a constructive motivation.

The truth is that his artistic discourse evidently from within is almost self-realizing

irrepressible as a message whose primary purpose is to be received and to be understood

diaphragms nor difficulties in the process of direct visual rendering and immediate and lucid recreation. Her

Inspirational components are based on a careful interpretation and assimilation of expressionist realism and

certain exploratory assonances of nature in the variety of its aspects, but the result is

stylistically fused and homogeneous unified as if by magic a coherent and passionate way of

looking at life, from a total disposition in the face of the most frank phenomena of life. In other words the

Ravazzolo's choice takes into account the experiences of modern painting up to its limits

It is permitted to speak of painting fashions up to the limit within which it is still permitted

of painting with its technical and logical problems, with its coherence in the operator's relationship with the

nature on the one hand, with humanity on the other, that balance that makes it possible to fulfill all needs

of a formal and technical research that is not an end in itself nor is it polluted by extraneous ideals,

without removing the link with the reality of visions, feelings and sensations. For this reason his

landscape views materialize in the expansion of a fantastic space and the female nudes in the

indivisible connection between fantastic figuration and rigorous syntax that supports it, have a charm

undoubtedly remarkable, retaining a warmth and an insatiable preciousness, almost becoming a symbol or almost

like a silent arabesque that passes from one image to another to finally come to light as

localized pictorial element, but more often extended like a magic net, to the entire painting. There

form imprisoned by the path of the sign frees itself and launches into a contemplative space that

value of color in the effusion of its pigment makes the mind fantastically seductive.

Review by Dino Ales

Flowers, which in nature constitute an extremely important element in the history of art and culture

painting in particular occupies such a space that art and painting would hardly exist without it

this element. So it is no wonder that today's artists have this aim! millennium, in this City, in one

gallery in itself, defining itself as a New Space, conceives doing in new and current terms

culture, and figurative culture, among these streets that are certainly not as fragrant as meadows, but rather occupied by

metals oppressed by noises, by miasmas, by the rattle of traffic, between alienated men and women and

sad, they propose the absence of flowers and nature as a challenge. They re-propose, that is, art

instrument of powerful mediation of recreation, between this concrete and these sheets of "memory",

if nothing else, of a myth: the myth of nature, of flowers, of the garden. That of mine lost, but common to

all historical civilizations, of an "earthly paradise", or of a lost condition of perfect harmony between

man and nature

Review by Sandro Serradifalco

Giorgio Ravazzolo is a master of art with behind him not only an adventurous life dotted with a thousand

emotions, but also an equally exciting artistic career. Over the years he has painted a

countless quantity of works which, although different from each other, had and still have a

common denominator which is that dispassionate admiration towards life, nature, people

comparisons of the concept of beauty and aesthetics. Ravazzolo thus presents us with a corollary of paintings

suggestive and at times even transgressive, as in the case of the numerous female nudes created which

they easily reveal his immoderate love for women, but also exciting landscapes

and rural views. Giorgio's pictorial language is direct and completely devoid of mystery, but not for

this superficial or not very creative, he is simply not interested in creating a sign to decipher

because what he does and what he likes to do as an artist is precisely to show the true beauty of things,

that intrinsic beauty which is so obvious, that it would be useless, according to the artistic point of view of

Ravazzolo, hide behind countless combinations of symbols and signs, because it is so pure that it is unique

The way to capture its essence is to leave it almost unchanged. The master, in fact, both as regards i

landscapes, both as regards female figures, he paints reality as it is, slightly

modified, obviously, following his point of view and his perceptions. The colors are bright, and the

chromatic structure continuously plays with chiaroscuro, creating depth and volume in every one

composition, and irradiating the entire work with a brilliant veil, making it an artistic experience of

great value. His style is the result of a thousand experiences that have allowed Ravazzolo to grow

as a man, but also and above all as an artist.

Review by Giuseppe Mendola

Giorgio Ravazzolo's works speak and the reverberation of their chromatic power reaches us

expressive, the notations of the character in his creative guise seem to have established a

symbiosis with the canvases. The "sometimes audacious" sets are striking. as Giovanni wrote

Cappuzzo and Ravazzolo takes us into a reality embodied with the gift he has most at his disposal: the choice of colours

in the phantasmagoric palette placed at the mercy of his dosages. He studies drawing, enhancing shapes and

it concentrates an intriguing atmosphere to enhance the details. Quality of painting and care of the floors

they constitute a harmony that increases the effectiveness of the image. Feminist wisdom and opulence

intellectual, mixed with flattery, in the right artistic space, materialize the representation of

woman in today's society. Musicality emerges in melodious seductions and the gaze remains enraptured

from so much technique to concentrate on the nuances of broad scenarios. A gradualness in the search for

bring the real into the magical muffled atmosphere of symbolism: the scent of a woman and floral luxuriance express the

vital sense of generous nature and Ravazzolo becomes the silent singer of the hymn to beauty. Respect

formal and colorful is made captivating in the facets with flickering and studied signs


Review by Fabio Granata (Hon. Deputy)

The artist Giorgio Ravazzolo, painter and sculptor, like a traveler, tells us through his paintings

emotions and feelings stopped in the instant in which the observer's eye is placed on the subject-object,

returning it to reality, through chromatic shades, in a virtual vision of the dream. The nudes, i

Sicilian landscapes, the homage to the "Great Pope" and Van Gogh have different themes but the atmospheres of

his works are images of memory, veiled, far from the raw reality, where the particular is

the key element. A nuance, an unusual touch of color, a different brushstroke from everything,

it distracts, but captures the observer's attention, opening an intimate and private vision. So, you have to

observe do not look at these works, only in this way can you walk alongside the soul of the artist.

Review by Guido Lo Porto (president of the Sicilian Regional Assembly)

When approaching the works of Giorgio Ravazzolo one immediately grasps the variety of the sign and the

symbolic and concrete sensuality of nature in its most seductive expression: the feminine universe

captured in moments of intimacy, like the chromatic explosion of the flora and vegetation in the luxuriance

of the most favorable seasons. One cannot therefore help but appreciate Ravazzolo's compositions at first sight

such hymns to life, which are typical of those who he was able to grasp, over the course of a long and varied life

experience, the essence of a feeling of amazement and intimate participation in the triumph of nature.

Personally, I am very happy to highlight this sort of inversion of one's own mobility

creates in Ravazzolo, an all-round artist, who leaves the Veneto to live in Palermo pervaded by

vigorous charm of Mediterranean sunshine.


1989 Collective and Competition 5 0 Valledolmo Prize.

1995 Collective and Competition 7 0 Valledolmo Prize.

1995 Collective and Competition City of Villafranca 4 0 Prize.

2006 Liolà National Award, Palermo

2006 Taormina International Prize 6th (out of 250 painters)

Organization and participation

1989 Painting Competition - Motta d' Collective I affirm

1990 Painting Competition - Motta d' Collective I affirm

1994 Collective exhibition of the Department of Social Solidarity, Palermo

1995 Murals "Votive Chapels" Terrasini

1996 Collective and Murals Chiusa Sclafani.

Exhibition events:

1988 (Empire International Collective; Summer Incontri Collective, Termini Imerese.)

1989 (Collective and Competition. Naro; Collective Palazzo Comitini, Palermo)

1990 Collective and competition Valledolmo.

1994Collective and Valledolmo Competition; Partinico Collective)

1995 (Murales Melito Porto Salvo; Collective Via Mandralisca and surroundings)

1996 (Collective and Competition "Cefalù città Fiorita"; Collective and Competition "Reported" Valledolmo;

Collective exhibition of 100 artists for the Museum of Cagliostro, Palermo.)

1997(Collective Competition "Cefalù Città Fiorita"; Collective "Beyond a smile" Cefalù; Collective and

Competition "Places and Life of Gollesano" Awarded)

1998 (Collective - Library of Monreale; Collective Petralia Sottana; Collective Municipality of Villafrati;

Collective Municipality of Isnello; Medicavalli Collective, Palermo; Collective Academy of Sicily,

Palermo Officers Club.)

1999 (Catanese Artistic May; Collective exhibition "Madonna del Carmine" Taormina Municipality (ME).)

2001 (Nuovo Spazio, Palermo; Autoclassic Club Normanno, Palermo; Maggio Artistico Catanese,

Collective, Corso Italia (CT); Former Hotel Savoia, City of Monreale; Vulcano (ME); Exhibition Institution

Painting, City of Marsala; Former Church of the Crucifix, Castelbuono; Former Church of Carmine,


2002 (Church of San Domenico, Palermo; Circolo della Libertà, Palermo; Villa Filangeri - Santa Flavia

(PA); Collective Osterio Magno Cefalù; Collective Artistic May of Catania; Carini Castle,

Carini (PA); Former Church of the Crucifix, Castelbuono; Vulcano (ME); Pro loco Termini Imerese

(PA); Former Church of Carmine, Taormina.)

2003 (May artistic Catanese Collettiva, Corso Italia, Catania; Isolarte, Isola delle Femmine (PA);

Gallery of Modern Art, Monreale (PA); Former Church of Carmine, Taormina; Vulcano (ME);

Osterio Magno, Cefalù; Ottagono Santa Caterina, Cefalù.)

2004 (Mezzojuso Municipal Castle (PA); Municipal Library, Alessandria della Rocca; Club

della Libertà, Palermo; Grand Hotel Excelsior, Chianciano; Catanese Artistic May,

Collective, Catania; Ex. Carmine Church, Taormina; Vulcano (ME); Municipal Library,

Isola delle Femmine (PA).)

2006 (Exhibition at Villa Niscemi, Palermo; Astoria Palace Hotel, Palermo; Collective Easter in art,

Carini (PA); Collective Oscar del Mediterraneo, Politeama Garibaldi, Palermo; Osterio Magno,


2010 La Maison d'Art

2016 Winter Art, Artime, Udine

2017 Art Nudes, Arttmie, Udine

2017 The island that exists, Palermo

1989 ("Il Capitello", Palermo; Women's Day; Personal exhibition, Villa Garibaldi, Palermo; Vulcano

(MYSELF); Personal Cultural Association "Nuovo Spazio", Palermo)

2006 L. Tirrito Workers' Society, Castronovo di Sicilia (PA)

2008 Mezzojuso Castle (PA)

2012 Ottagono Santa Caterina, Cefalù

2012 Caffè Pedrocchi, Padua

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