Carlo Romiti has been painting for years using earth which he himself collects.

His painting starts in the very same moment he scrapes at an embankment and collects the first handful of earth “di più ragioni di colori”, in the very same places described by Cennini.
The pursuit of an ancient technique and the constant research on colour and its application are a source of inspiration.
Sometimes it’s the earth itself with a different shade which suggests the painting, in a alternation of priority between subject and colour.

"E pervegnendo in un vallicello,
in una grotta molto salvatica,
e raschiando la grotta con una zappa,
io vidi vene di più ragioni di colori:
cioè ocria, sinopia scura e chiara, ..."

Cennino Cennini
"The Book of Art or The Treatise on Painting"
XIV century

Carlo Romiti: le terre

le terre

Carlo Romiti: selezione delle terre

selezione delle terre

The raw earth, well-dried, hand pounded in stone mortars, sifted and sometimes pounded again, is mixed with water, egg or different glues, or even with flax oil, depending on the stands he uses.

The earth, treated in this way, doesn’t need any final paint because it must keep its own “brightness”.

The use of this ancient tradition of painting is also mirrored in the artist’s way of live: one of relative isolation in the countryside between San Gimignano and Volterra. His horses and dogs, together with the roedeer and wild boars in the nearby wood, with the surrounding landscape are his favourite subjects and the means to rediscover the ancestral part that is in everyone.
Carlo Romiti: macinatura delle terre

macinatura delle terre

Carlo Romiti: macinatura delle terre

macinatura delle terre

Carlo Romiti: impasto


Carlo Romiti: impasto


Carlo Romiti: Preparazione della tela

preparazione della tela

Carlo Romiti: pittura