1960-1967 EGG TEMPERA

The indication, in the title of the “paragraph”, of the use of a particular technique, signals a vital change. Rizzato is very much at home with the tools used for the creation of his images, from the rapid sketch to its transformation into a pattern, and in the experimentation with the techniques best suited to the work to be done. This ability, too, which in the course of time proved decisive in the changing of idioms and consequently effects, appeared early in these researches. They are significantly affected moreover, by his frequent visits to the studio of Mario Radice, one of the leading abstract artists of the 1930s within what came to be known as the “Como Group”.
Rizzato’s interest both in the architectural building and in still life, interpreted as a kindred arrangement of different volumes and their essential components, was translated into a reduced palette of colours associated with “earths”, into the study of the effect on a flat surface made by contrasting forms and colours that play both on the frame and on the edges as well as on a limited, no longer naturalistic but contrived depth.