Biographical Notes

Livio Ceschin was born in Pieve di Soligo on 28th November 1962.
In 1978 he attended the Istituto Statale d’arte (art school) in Venice and graduated in 1982.
He started engraving in 1991. The beginning of his artistic career was influenced by the master engravers of the past. His first works were copies of Rembrandt’s, Gianbattista Tiepolo’s and Canaletto’s graphic works which he engraved on zinc. This was alternated with “copying exercises” of works by Barbisan, Pitteri and Velly.
In 1992 he enrolled in the Accademia Raffaelo in Urbino and attended the Copperplate Engraving Laboratory held by the Master Engraver Paolo Fraternali (in 2006 he collaborated with him on a graphic art exhibit, and his contribution was decisive in his approach to studying new techniques).
He felt an ever-more urgent need to take on landscapes using the aquaforte technique and dry-point.
In 1994 he met Renato Bruscaglia in Urbino during one of the Master’s first exhibitions in the “Saletta Paolini-Nezzo”.

In the same year he received his first award: 1st Award at the “Premio Arte – Giorgio Mondadori Editore” contest with “Riflessi sull’acqua” (Water Reflections).
From 1994 to 1998 many exhibitions were dedicated to him in Italy and abroad in galleries and Italo-Foreign Cultural Institutes. The most important one in Italy was at the Galleria Linati in Milan in 1998 and the publication of a catalogue, edited by the art critic Tino Gipponi.
The beginning of his friendship with poets and writers started in 1998. He published his first editorial work. It came out in January, published by Stamperia Santini in Udine, the art folder called "La finestra più alta” (The Highest Window) containing a piece of prose by the poet Novella Cantarutti accompanied by a dry-point by the artist. In the same year a plaquette edited by Fabrizio Mugnaini with three unpublished poems by Silviuo Ramat and a dry-point by the artist which was followed by another one called “Una poesia e un’acquaforte” (A Poem and an Etching) edited by the editor and poet Bino Rebellato. The edition was accompanied by a poem by Andrea Zanzotto and an etching by the artist.

From 2000 to 2002 he participated in some of the most important graphic Biennial and Triennial Exhibitions, such as the ones in Lubiana, Cracow and Ourense in Spain.

In 2003 the Art edition “La luce del silenzio” (The Light of Silence) was presented at the Libreria Bocca in Milan; it contains three poems by Mario Luzi and three etchings by the artist; the introduction was edited by the poet Franco Loi.

In the month of April of the same year, the artist was awarded the 1st Prize at the International Acqui Terme Biennale Exhibition with the etching “Nel sottobosco, tra betulle e foglie” (In the Undergrowth between Birches and Leaves).
In 2004 he became friends with the writer Mario Rigoni Stern from Asiago. He illustrated the cover of the book “La storia di Tönle” (Tönle’s Story) for the Polish edition with the etching ”Stradina d’inverno” (Small Road in Winter). During a one-man exhibition in Asiago he gave the writer an art folder containing the etching ”Omaggio a Mario Rigoni Stern” (Homage to Mario Rigoni Stern) accompanied by a work by Andrea Zanzotto.
Among letters written to him worthy of notice, there is a beautiful one by Federico Zeri which he received at the beginning 1998: “…your etchings prove to me that nowadays, in Italy, the Graphic Art is superior to the art of painting” and the exchange of letters with the Art Historian Ernst Gombrich that Ceschin met in London in spring 2000 at his house and to whom he dedicated his work “Omaggio a Gombrich” (Homage to Gombrich) at the moment preserved in the collection of the Portrait Gallery in London.
In 2001 he met the French photographer Henry Cartier–Bresson to whom he showed his etchings and dedicated “L’attesa” (Waiting).
In 1993 he became a member of the Repertorio degli incisori italiani (Bagnacavallo) and since 1996 some of his works have been published in the Yearbooks published by the Libreria Prandi (Reggio Emilia).
He has been a member of the Royal Society of painter-Printmakers in London since 2002.

His etching are preserved in the following institutional collections:
Civica raccolta Achille Bertarelli (Milano)
- Gabinetto Nazionale di Stampe (Bagnacavallo-RA)
- Raccolta di Stampe Museo Civico (Cremona)
- Collezione della Galleria Nazionale dei Ritratti (Londra)
- Raccolta di Stampe della Biblioteca Nazionale di Francia (Parigi)
- Collezione di Grafica Caixanova (Spagna)
- Gabinetto dei disegni e delle stampe dell’Accademia di Belle Arti (Bologna)
- Gabinetto dei Disegni e delle Stampe (Santa Croce sull’Arno-PI)
- Gabinetto dei disegni e delle stampe degli Uffizi (Firenze)
- Raccolta stampe dei Musei Civici di Arte Antica (Ferrara)
- Gabinetto delle stampe della Biblioteca Panizzi (Reggio Emilia)
- Gabinetto delle stampe dell’Istituto Nazionale per la grafica (Roma)
- Collezione di Stampe della Staatliche Graphiche Sammlung (Monaco)
- Collezione di Disegni e Stampe del Museo Albertina (Vienna)
- Collezione di Disegni e Stampe del Museo Britannico (Londra) 

Presso le seguenti Collezioni private:
- Collezione Ballatore (Torino).
- Collezione Bettini (Verona)
- Collezione Bragagnolo (Castelfranco
- Collezione Cantaluppi (Como)
- Collezione Daverio (Milano)
- Collezione De Micheli (Milano)
- Collezione Gipponi (Lodi)
- Collezione Gobbato (Romano d’Ezzelino-VI)
- Collezione Linati (Milano)
- Collezione Michelon (Abano Terme-PD)
- Collezione Pierotti (Treviso)
- Collezione Sanesi (Milano)
- Collezione Secchi (Mirandola-MO)
- Collezione Sgarbi (Ferrara)
- Collezione Soavi (Milano)
- Collezione Taddia (Sant’Agostino-FE)
- Collezione Veneto Banca (Montebelluna-TV)

 He lives and works in Collalto, a small town in the province of Treviso (Italy).




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