A musician as well as a visual artist, from his debut in the early ‘60s Guarneri focused on a radically visual investigation built around the idea that mark, color and light constitute the intrinsic essence of a painting. 

Closely aligned to the Pittura Analitica movement which emerged in Italy in the 1970s in which the artists strived to redefine the modern era of painting and reclaim this form as a contemporary voice. As most significant and influential artistic movements of the Italian Post-War period, this collective of artists is linked to other European movements such as the Supports/Surfaces group in France and the radical painting in Germany, as well as to the American Minimalists.


Riccardo Guarneri (b.1933) was born in Florence where he lives and works.
His works have been shown worldwide and are included in several international collection such as The Guggenheim Museum, New York; the Los Angeles Institute of Contemporary Art, Los Angeles; The Israel Museum, Jerusalem; The Kunstmuseum, Bern; National Gallery, Ottawa; Stedelijk Museum; Amsterdam and the Museo del Novecento, Milan. In 2017, the artist was invited to contribute to the 57th Biennale Internazionale d’Arte di Venezia ‘Viva arte Viva’, curated by Christine Macel. In 2019 Riccardo Guarneri’s works have been shown in the solo exhibition ‘Pittura Pittura’ at the Museo Novecento in Florence. In 2018 a selection of his works from the 57th Venice Biennale was shown in the exhibition “Variazioni del sentire” at Palazzo Sarcinelli in Conegliano. In 2004 he was included in “Mostra Antologica” in Palazzo Pitti in Florence. In 1984 a selection of his works was shown at the Galleria Nazionale d’Arte Moderna in Rome alongside works by Rodolfo Arico’ and Giuseppe Uncini amongst others. In 1973 Guarneri’s paintings were exhibited in the Quadriennale in Rome together with Alighiero Boetti, Enrico Castellani, Domenico Gnoli, Jannis Kounellis, Piero Manzoni and several other historical artists.
1972 brought the artist’s first retrospective at Westfalischer Kunstverein in Munster.
He participated in the Paris Biennial in 1967. Guarneri’s originality was given due recognition for the first time in 1966
with the invite to participate at the 33rd Venice Biennale where his work was presented in dialogue with Agostino Bonalumi and Paolo Scheggi, followed by the feature in “Weiss auf Weiss” curated by Udo Kultermann at Bern’s Kun- sthalle alongside artists such as Jean Arp, Robert Rauschenberg, Lucio Fontana, Jesus-Rafael Soto, Piero Dorazio and Josef Albers. He has taught painting in Carrara, Bari, Florence and the Venice Academy of Art.