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An Artist Between Painting and the Stage
Moving to Rome at a very young age, Clerici studied architecture and immersed himself in the city's rich artistic tradition. His painting developed a personal language made of imaginary architectures, metaphysical deserts, and fantastic ruins, where historical memory intertwines with the dream dimension.
Alongside painting, he dedicated himself intensely to the theater, creating sets and costumes for operas and ballets performed in major European theaters. His scenic style combined architectural rigor with visionary fantasy, transforming the theatrical space into a place of symbolic evocations.
The Meeting with Dalí
In 1948, Clerici met Salvador Dalí in Venice. The great Surrealist artist was struck by his visionary painting, particularly by works such as "The Minotaur Publicly Accuses His Mother." This meeting helped consolidate Clerici's international reputation as a painter of fantastic imagery.
Sets Between Myth and Architecture
Among his best-known theatrical works are the sets and costumes for operas such as Stravinsky's "Orpheus," Purcell's "Dido and Aeneas," and Britten's "The Rape of Lucretia." He collaborated with leading directors and musicians, bringing a refined and cultured visual language to the stage.
His work, exhibited in major international museums, remains one of the most original testimonies of the encounter between fantastic painting and theater in the 20th century.
This article is part of the section dedicated to costume designers for opera and musical theater.
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