Carlo Sbisà’s work drew the attention of native of Trieste critics such as Silvio
Benco, Umbro Apollonio, Manlio Malabotta, but also of painters and writers who
had a leading role in the art debacle as Carlo Carrà, Raffaele De Grada, Sergio Solmi,
or literary figures like Pier Antonio Quarantotti Gambini. Racing a detailed
analysis of their texts, we can highlight the extent of Sbisà’s artistic production’s
less known phases, as the still-life paintings from the Forties and the transition
from painting to sculpture. Thus so, it is also possible to call into question some
of the most rooted beliefs about the artist: above all his universally established
“neoclassicism”.
