Moreno Bondi was born in Carrara in 1959.
After graduating, he began teaching in Academies of Fine Arts, becoming Full Professor of Painting Techniques first in Carrara in 1987 and then later in Rome, the city where he now lives and works.
From the outset, he has undertaken painstaking study and research into the techniques and materials used in classical painting, completely won over as he was by the power of Caravaggio’s painting and the vigorous strength of Michelangelo’s sculpture. From this admiration sprang the firmly held belief that artistic expression today must be reunited once again with the vast cultural heritage of the great masters, not least by reclaiming knowledge of their technical and practical genius. Therefore Moreno Bondi’s painting, while enrichened by his artistic experience of the contemporary to which intellectually he belongs, is also deeply rooted in the history of art and sustained by his thoroughgoing knowledge of materials and techniques.
Long and painstaking research, detailed study of 16th and 17th century manuals and extensive experimentation with oils, resins and pigments, have allowed Bondi to master pictorial techniques and the jealously guarded alchemy of materials used by the great masters of the past, so that he has been able to reclaim, and to employ with masterly expertise the previously lost technique of “fresco on fresco”.
In his long academic and professional career (as Chair of Painting Techniques at the Academy of Fine Arts since 1987), Moreno Bondi has looked for a comparison with the great artistic tradition, using painting and sculpture with ability.
Bondi is inspired by the icons of art: he isolates them from time and space; he represents them in an abstract atmosphere that produces a neo Caravaggio-like metaphysics figuration.
“Moreno Bondi -writes Antonio Paolucci- has devoted years to the study of traditional painting techniques. He knows as nobody else the masters’ craft of the great centuries and knows how to replicate it with absolute mimetic wisdom. (…) His painting suggests a mirror that reflects the icons of ancient art, only the mirror is broken. It reflects Michelangelo and Caravaggio in disjointed fragments, reassembled according to an order that follows the mind and symbols of their own time”.
Antonio Paolucci, Former Minister of Cultural Heritage Ministry and Director of Vatican Museums)