Renzo Vespignani

Meanwhile, he collaborated as a designer with many political-literary reviews done as poetic documentaries, relating to the cinema of Rossellini and Vittorio de Sica.

[1] At this time, his work had begun to focus on life in the harsh neighborhoods of Rome's periphery, displaying a connection with the films and literature of Italian Neorealism.

[2] In 1963, with the painters, Ferroni, Ennio Calabria, Giuseppe Guerreschi, Piero Guccione, Piero Guccione e Alberto Gianquinto and the art critics Dario Micacchi, Antonio Del Guercio and Morosini, he founded the group Il pro e il Contro (Pro and Con), which immediately became a point of reference for the newborn neo-figures experiments.

[2] A 1985 exhibition at the French Academy in Rome examined the rapport between Vespignani's work and that of the Neorealist poet and filmmaker Pier Paolo Pasolini.

[2] After the 1970s, Vespignani rarely exhibited abroad, although two bodies of his work from the 1990s, Manhattan Transfer and An Afternoon in Chelsea, had been inspired by visits to New York City.