Lucio Del Pezzo

He was born on 13 December 1933 in Naples.


After studying as a land surveyor, he attended Mario Napoli's Scuola libera di disegno e di storia dell'arte e archeologia and in 1954 he won a scholarship for archaeological research in Greece. In 1955 he graduated in the applied art course, decorative painting section, at the State Art Institute of Naples. He attended, a pupil of Emilio Notte, the painting course at the Accademia di Belle Arti di Napoli. He holds his first personal exhibition in Padua.


He participates with Guido Biasi, Bruno Di Bello, Sergio Fergola, Luca (Luigi Castellano) and Mario Persico in the foundation in Naples of Gruppo 58, connected with the "Movimento Nucleare" led by Enrico Baj in Milan and with the Phases groups in Paris, Spur in Monaco and Boa in Buenos Aires.


He joins the "Manifeste de Naples" and actively participates in the creation of the magazine "Documento Sud", a review of avant-garde art and culture.

He stays in Matera and works, as well as a painter, as a professor of ceramics in the Martella Atelier, created by the Cascella brothers and the architect Quaroni. He decorates the dome of the Church of S. Antonio in Stigliano near Matera with a painting of 80 square meters (861.11 sq ft), Storie di Antonio da Padova.

1960- 1961

He moved to Milan on invitation by Enrico Baj and Arturo Schwarz. He has personal exhibition in the Schwarz Gallery. In 1961 he obtained the "Carnegie International Award" in Pittsburg and presented his first personal exhibition in New York.


He lectures on his research in the Eugenio Battisti course at the Università degli Studi di Genova. He designs interior furnishings in collaboration with numerous architects.


Together with other artists, including Baj and Fontana, he creates the "Labirinto del Tempo Libero" at the XIII Triennale di Milano, obtaining one of the international prizes. He participates in the XXXII Biennale di Venezia. He moves to Paris where he lives in Max Ernst's old studio.


He was appointed member of the selection committee of the Salon de la Jeune Peinture as well as of the Salon de Mai. 1966 Personal space at the XXXIII Biennale di Venezia.
He is invited as a visiting professor for one year at the Institute of Arts in Minneapolis (USA).


He participates in the organization of the De Metafisica exhibition in the Kruger Gallery in Geneva where he exhibits together with de Chirico, Carrà, Morandi, De Pisis, Sironi and Gnoli.


First personal exhibition in Paris.

The French State acquired two of his works and set up the "metaphysical room" at the Museum of Grenoble (De Chirico, Max Ernst, Herbin, Carrà, Nevelson, Del Pezzo); he also commissioned two large outdoor sculptures for a school architecture complex (a scientific high school and a school of architecture and decoration in Dijon). The Centre National d'Art Contemporain in Paris commissions him to renovate the garden of the Hotel de Rothschild (project not completed).


He is invited to Cuba at the World Peoples Festival where he presents the sculpture La Tomba di Marat. The new university of Leverkusen commissions him to do an unrealized installation of sculptures for the campus.


Retrospective at the Università di Parma by Arturo Carlo Quintavalle.
Collaboration as graphic designer with Olivetti begins.


Teaching internship at the Sorbonne Faculty of Applied Psychology as an assistant to the art studios. He creates a painted stainless steel bas-relief for a Giò Ponti building in Milan.


The work for Olivetti intensifies to which is added the collaboration with the automotive group Renault Italia.


For the Centre Pompidou in Paris he created a work (the 120x3.5m, 393.70x11.48ft wall) that covers two sides of the palisade of the Beaubourg construction site.


The Municipality of Milan dedicates a retrospective to him at the Rotonda della Besana curated by Guido Ballo.


The Centre Pompidou in Paris entrusted him with an animation stage on theater at the Atelier des Enfants.


The Italsider workshops in Taranto dedicate an exhibition to him reserved for his serial production (multiples and prints) and commission him some iron sculptures.


He returns permanently to Italy, settling in Milan.

1980 -1983

He exhibits the works of the De Chirico cycle, 'Paraphrases' 1963-1979 at the Studio Marconi in Milan. He teaches graphics and illustration as an assistant at the Castle's art school. He holds together with other Italian artists a series of meetings and lessons in some universities and colleges in California.


He is invited by Guido Ballo to take the place of Emilio Tadini as holder of the chair of experimental painting at the new Accademia di Belle Arti di Milano. He works on an educational film project about his artistic practice.


Progetta le scenografie dell'opera Samarcanda di E. Schatz, realizzata nei giardini del Museo d'Arte Moderna a Milano, per un concerto di musica antica nel chiostro della chiesa Ognissanti a Firenze e per una presentazione dell'opera La festa del Principe di Lambertini e Barra al Festival Vesuviano di Ercolano.

He designs the scenographies of the opera Samarcanda by E. Schatz, created in the gardens of the Museo d'Arte Moderna in Milan, for an ancient music concert in the cloister of the Ognissanti church in Florence and for a presentation of the opera La festa del Principe by Lambertini and Barra at the Festival Vesuviano of Herculaneum.


Together with twenty other Italian artists, he exhibited at the Palace of Arts in Moscow at the invitation of the Union of Russian Artists.


Set design for the ballet A Midsummer Night's Dream in the Valli Theater in Reggio Emilia and in the Verdi Theater in Parma.


He is invited to Japan where the architect Alhadoff commissions him to create a sculpture for the Sunstar company in Osaka.


He holds his personal Tribute to Andrea Mantegna in the Mantegna House in Mantua.

The collaboration with the Olivetti and Renault Italia companies ends.


Travel to India, Nepal and Polynesia.


He receives the Imola Prize, on the occasion of which Luigi Lambertini publishes the monograph Pagine a Zig-Zag.


Commissioned by the architect Marco Zanuso, he creates a large painting for the Milan office of the fashion house Gian Franco Ferré.


For two stations of the new Naples underground, he designed four large ceramic reliefs and a plastic in bronze.

The Mathildenhöhe Institute in Darmstadt presents the first major retrospective of his work in Germany.

He lives and works in Milan.


He dies at 86.

Una Seconda Natura

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