We find ourselves in Castel Bolognese, in the hinterland of the plain of Ravenna, where since 1995 certain important works by Angelo Biancini are on view among the town’s streets and squares: all in all about twenty sculptures and panels in bronze, metal alloy, cement and enamel.
The works in Castel Bolognese represent a journey through the history of Biancini’s art, and follow his artistic evolution from the thirties until his death in 1988. Among the most representative are: The Rice Planter from Romagna “La mondina romagnola”, The Expectant Mother “Madre in attesa” (1973), The Legionary’s Mother “La madre del legionario” (1935), The Heroic Women “Le donne eroiche” (1961), Via Crucis (1977), Tree of Life “Albero della vita” (1983).
Walking through the town it is possible to admire statues hidden among trees in wide avenues, works that adorn the central town square and sculptures at the entance to the town. The great advantage of this open-air museum is the contribution it has made to the knowledge of and appreciation of Biancini’s outgoing and direct art.
Besides the sculptures in the open, Castel Bolognese also houses several of the artist’s works inside the Church of San Francesco, in the Old Age Home, in Pascoli Intermediate School, in the hospital and in the Civic Museum (where it is also possible to view works by Piancastelli, Guidi, and Bernardi).
The artist never abandoned the inspiration he drew from Castel Bolognese, where he was born in 1911 and where he died in 1988. In his youth his artistic activity included equally both sculptures and ceramics: having completed his studies in Florence, first at the Academy and then in the bottega of Libero Andreotti. Thereafter Biancini worked for the Italian Ceramics Society in Laveno. He received his first prize in 1933 in an Art Competition (Littoriali dell’Arte) in Florence and from this moment he partecipated in numerous competitions with notable success; from 1943 he exhibited both in Italy and abroad and his works form part of several international art collections.
During his carrier Biancini worked for politicians, ecclesiastical authorities and several public and private institutions. He used various materials, from ceramic to bronze, metal alloys to marble, in order to best express the subject at hand.
After the war his style, inspired by cubism and abstract art, but nonetheless recognisable for its marked and decisive geometric shapes, can be said to be fully developed. Independent in ideas, style and production, his bond with his native town and people always remained strong and he drew inspiration from both, as is manifest in the sanguine and instinctive character of his art.