Ferroni is one of the most important Italian Representational painter among the post-war period ones. Self-taught man because of his parents hostility towards painting learning, he proves to be up to the Schiele sign. After his family transfer to Milan in 1944, he approaches the Brera circle and he has a meeting with the critic Franco Passoni and many of other artists  like Crippa, Dova etc.

During the fifties he is very successful in many one-man and group exhibitions.

He shows himself unusually talented at engraving. The production of his wonderful works lay in having to live a very critical and tormented phase, during the period he spends in Viareggio, from 1968 to 1972. Ferroni draws his inspiration from the Danish Hammershoi’s works, particularly rich in a sorrowful spiritualism, where the piano plays Chopin by itself; whereas he diverges from Bacon, Morandi or Giacometti, even if he knows them.

A great examples are: the “Toiletries” of 1975, the “Inner” of 1976 or the “In the studio” of 1972 (in spite of a not much original style, corrupted by the Hyper-realism).

In time, his painting seems to reach a colour light, although the pencil “Self-portrait” of 1989 is still elegantly and distressing.

Matteo Gardonio