During the Renaissance, the artist's skill and the success of his portraits depended on his ability to see the depths of the subject to be portrayed.
The face was seen as an expression of the soul and emotions, of what we do not reveal, of what many times we do not dare to show.

Da Vinci's obvious expressions show us the infinite possibilities of faces, as is the case of the Mona Lisa, perhaps even too rational and almost hiding extreme passions and feelings?
In Ritratti, two contemporary artists take us to the Renaissance, to the corner of the enlarged lower lip, to the crease of the eyelids, to the light under the nose, and on the internal slope, like two peaks of drives, above the mouth. Detailed individual features, almost noble, full of light and clear color. Colors made from the same pigments used during the Renaissance in the case of Salustiano, full of expressive, provocative, direct features but also full of melancholy.

Just as Ugalde's vision of the great masters is melancholic and iconic - almost an aesthetic performance of the past in these constructions or deconstructions of the image and of  Renaissance beauty.
Two artists, two interpretations, present and past, mixed in a common objective: to portray the emotion and through them the beauty of their characters.
The characters of Pirandello were looking for an author, these characters undoubtedly already found them and through their authors they show us their poetic intensity, alive, challenging, beautiful, almost lustful in some cases, totally pure in others.

In addition, with their skill they remind us of the importance of observation.The Renaissance showed us the balance of forms based on the observation of the world and its expression through reason.

These two artists bring that detail and that meticulous observation, with icons of modern and contemporary art and with the innovation that contemporaneity entails, both in their mode of expression and in their techniques.

Ritratti is a great reminder of the importance of stopping to observe.