Age, Biography and Wiki

Fabrizio Clerici was born on 15 May, 1913, is an Italian painter (1913–1993). Discover Fabrizio Clerici's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 80 years old?

Popular As N/A
Occupation N/A
Age 80 years old
Zodiac Sign Taurus
Born 15 May, 1913
Birthday 15 May
Birthplace N/A
Date of death 7 June, 1993
Died Place N/A
Nationality

We recommend you to check the complete list of Famous People born on 15 May. He is a member of famous painter with the age 80 years old group.

Fabrizio Clerici Height, Weight & Measurements

At 80 years old, Fabrizio Clerici height not available right now. We will update Fabrizio Clerici's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

Family
Parents Not Available
Wife Not Available
Sibling Not Available
Children Not Available

Fabrizio Clerici Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Fabrizio Clerici worth at the age of 80 years old? Fabrizio Clerici’s income source is mostly from being a successful painter. He is from . We have estimated Fabrizio Clerici's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income painter

Fabrizio Clerici Social Network

Instagram
Linkedin
Twitter
Facebook
Wikipedia
Imdb

Timeline

1913

Fabrizio Clerici (15 May 1913 – 7 June 1993) was an Italian painter.

Clerici was a complex and eclectic artist and was also an architect, costume designer, scenographer and photographer.

His works were exhibited in many museums in the United States, including the MoMA and the Guggenheim Museum, and in France, such as the Centre Pompidou.

1920

In 1920 Clerici moved to Rome, where he studied at the Scuola Superiore di Architettura, and obtained an architecture degree in 1937.

The Roman monuments, architecture and paintings from the Italian Renaissance and the baroque period considerably influence him, as did certain religious works, due to their spectacular aspect.

1930

At the end of the 1930s he made his first dreamlike and fantastic paintings, based on his memory of events, locations and persons transformed by the filter of time.

Through his reconstruction of images, Clerici evolved naturally towards surrealism.

However, the actual motive of Clerici remained metaphysical.

Upon his return to Rome after the Second World War he closely perused the scientific studies of Athanasius Kircher, Erhard Schön and Jean François Niceron.

1936

In Rome he attended conferences by Le Corbusier, and in 1936 he became a friend of Alberto Savinio; they admired each other's work.

1938

In 1938 he met Giorgio de Chirico in Milan.

1944

In 1944 he wrote an article in the review Quadrante describing his meeting with Leonor Fini.

1945

In January 1945 he and Savinio participated in a collective exhibition.

1947

In 1947 he collaborated with Lucio Fontana in the project Patio per una casa al mare, for Handicraft Development, Inc. in New York.

1948

Until 1948, Clerici continued to produce drawings and engravings; in 1949 he produced large-scale paintings in which architecture was the major harmonic component.

Later he travelled to the Middle East — Egypt, Syria and Jordan — as well as to Libya and Turkey.

From those travels Clerici developed two themes: the "mirages" and the "temples of the egg", cycles of constructions set in the desert and spiralling from a central core containing a hypothetical primordial egg.

In parallel to his paintings, which became more and more fantastic and magical, he worked for the theatre.

On this return from Egypt he created sets for La vedova scaltra by Carlo Goldoni under the direction of Giorgio Strehler.

Before that he had produced the sets of a number of ballets and lyric works, always with the theme of a fantastic world.

He then made the sets and costumes for Igor Stravinsky's ballet Orpheus, presented at the La Fenice theatre in Venice in 1948; for Dido and Aeneas by Henry Purcell and for The Rape of Lucretia by Benjamin Britten, both at the Teatro dell'Opera di Roma and directed by Alberto Lattuada (1949); for Armide by Jean-Baptiste Lully (1950); for the comic opera Gianni Schicchi by Giacomo Puccini, directed by Peter Ustinov at the Royal Opera House in Covent Garden (1962); and for Ali Baba by Luigi Cherubini, at the La Scala in Milan.

1955

His most renowned works are Il Minotauro accusa pubblicamente sua madre, Sonno romano (1955); Le Confessioni palermitane (1954); Minerva phlegraea (1956–57); Le Krak des Chevaliers (1968).

Later, Sonno romano (1955) would reawaken those memories.

1957

Over a two-year period he helped create the big stained glass window La fede di Santa Caterina for the Basilica of San Domenico in Siena (1957).

1964

In 1964 he began a series of tables for Orlando furioso of Ludovico Ariosto.

1968

In 1968, on the occasion of the Berliner Festspiele, he participated in two exhibitions on painting and scenography in the Neue Nationalgalerie and the Galerie im Rathaus Tempelhof.

1970

In 1970 he produced for Berlin's Propyläen Verlag an edition of The Travels of Marco Polo (Il Milione) of Marco Polo, with tables and original lithographs.

In the 1970s he produced Egyptian-inspired works entitled Variazioni tebane.

1971

The drawings were exhibited with other paintings at the Galerie Brusberg in Hanover (1971).

1974

In 1974-75 he painted a cycle around the theme ''Isle of the Dead of Arnold Böcklin.

1977

In 1977 he made a series of lithographs for an edition of Le bestiaire by Guillaume Apollinaire.

During the same year three important retrospective exhibitions were dedicated to Clerici at the Museum of Western and Oriental Art in Kiev, the Fine Arts Museum in Almaty and the Pushkin Museum in Moscow.

1980

In 1980–1981 he completed a cycle of paintings around the theme of violence, entitled I corpi di Orvieto.

At the same time he worked on a series of large colour tables entitled Le impalcature della Sistina.

1983

In 1983 an exhibition was dedicated to him at the Palazzo dei Diamanti in Ferrara.

1984

In 1984, he visited Samarkand and Bukhara.

1987

In 1987 a retrospective exhibition was dedicated to him at the Reggia di Caserta, with a catalogue edited by Franco Maria Ricci.

After his death the Archivio "Fabrizio Clerici" was created.