From November 21st the Civic Museums will welcome Matteo Fato 's solo exhibition L'unica Immagine Possible (d'après un Florilegio ), curated by Simone Ciglia, promoted by the Municipality of Pesaro and the Pescheria Foundation – Visual Arts Center in collaboration with Pesaro Musei This is the artist's first exhibition based on intaglio . Matteo Fato has a long experience with various engraving techniques - from drypoint to etching, from lithography to monotype - learned during his training at the Academy of Fine Arts in Urbino and at the center of his activity as a teacher of art graphics at the same academy. Always an accompaniment to pictorial production, graphic production is defined by the author as a "pedestal for the eyes": a moment of elevation and support for the gaze. In Pesaro Fato presents a series of engravings inspired by the work of other artists ( d'après ) .

The references cross a long chronological span, from the early Renaissance of Beato Angelico (Vicchio, ca. 1395-Rome, 1455) to the late nineteenth century of Francesco Paolo Michetti (Tocco da Casauria, 1851-Francavilla al Mare, 1929) to the modernity of Scipione (Macerata , 1904-Arco, 1933) to the contemporaneity of Gino De Dominicis (Ancona, 1947-Rome, 1998). Following a long tradition in the history of art, this cycle is conceived as a tribute to beloved masters and at the same time as a reappropriation and rereading of their work. In fact, Fato is not limited to a mere transcription of the original motif but intervenes in various ways in the re-presentation of the image, translating it from medium to medium, reconfiguring it on a compositional level or selecting some details, with the idea of superimposing its own thoughts on those of the artists studied . The sacred theme links the d'après series, initiated by Beato Angelico's Christ Mocked (one of the frescoes decorating the convent of San Marco in Florence, 1438-1440) and continued in the subsequent episodes dedicated to Michetti's Vow ( a canvas from 1883 inspired by the procession of San Pantaleone di Miglianico [CH]) and Il Cavallino di Scipione (1929, connected by Fato to studies of apocalyptic themes), up to the Madonna che laughs by De Dominicis (1973, a photograph which preserves the the only image of a statue destroyed by the artist).