The Italian sculptor Romano Vio has never become a household name like that of Donatello, Michelangelo, Canova or Giacometti but is no less deserving of such high accolade as a leading figurative artist following in the great Italian tradition. He had a long and important artistic career. The list of works is endless, from small, beautifully modelled bronze figures to large-scale monuments like his masterpiece to honour the composer Umberto Giordano in Foggia, Italy.

He was gifted with incomparable technical skill and his works embodied poetic pathos. He had vision. He had an unique concept of beauty. Within the complex and shifting movements of XX century sculpture he remained true to the great classic tradition while stamping it with his own inimitable style.

He deserves to be better known and this site hopes to promote research and to probe his numerous works and fire the debate about this artist and his legitimate entitlement to be a “classic” of our time.

Romano Vio’s works span nearly five decades. He won countless prizes, he participated in Rome’s Quadriennale, more than once in Venice’s Biennale and in numerous other important exhibitions in Bologna, Turin and Milan to name just a few. His busts never failed to capture the essence of the people he was portraying, his sacred works were imbued with his own personal spirituality, his portrayal of the female form exuded beauty, special commissions were based on well researched backgrounds inspired by his creative spirit.

He was a Venetian through and through and was never tempted to leave his beloved city where he created his masterpieces in silent modesty and humility. He never sought recognition but it was forthcoming from those art critics who recognised his talent.

Pamela-Bronwen Vio