Galleria Strasburgo from Via Durini

Galleria Strasburgo from Via Durini

Art Gallery Strasburgo

First opened in 1966, art gallery Strasburgo exhibits and deals exclusively with art works of Maestro Rodolfo Viola. It has become in time a landmark for international art collectors and for lovers and appreciators of his painting. It hosts exhibitions of contemporary sculptors and other selected events. It is located in the historic center of Milano, close to Piazza San Babila, in an elegant and discrete pedestrian passage way which connects Via Durini to Corso Europa; designed by architect Luigi Caccia Dominioni and embellished by a floor mosaic by Francesco Somaini it is considered a historical site by the superintendence of fine arts.

Strasburgo art Gallery with the support and collaboration of the Foundation Rodolfo Viola are the only authorized subjects which can authenticate, certify the artworks and update the archive of his art.





Rodolfo Viola was born in Milano on August 8th 1937. His painting follows the trends of non-representational art of those years and he defines the aesthetic and philosophical implications of his research in the Manifesto Universalista which he co-authors with Franco Zeffirelli, Peter Maag, Carlo Mauri and Giuseppe Marotta. His works have been exhibited in the most important art galleries in Italy and around the world and are part of public and private collections. Three essays have been written about him by art critics Andre' Verdet, Silvio Ceccato and Pierre Restany. Rodolfo Viola has been conferred many prizes and recognitions: the Republic of San Marino dedicated him a series of stamps (in which he appeared as only living artist among Botticelli, Guercino, Tintoretto); his seascapes have become symbol of the America's Cup, one of his paintings was chosen for the celebration of the 6th centenary of the fabbrica del Duomo. These are only few of the events which have  led Viola to become an exponent of the international artistic scene, although they never been the vehicles of his success. Rodolfo Viola is Rodolfo Viola, for pureness of intent and a unique personality demonstrated in 60 years of inspiring paintings always new and always true to his authentic trait.





The discovery of Rodolfo Viola’s art means getting to know the joy of approaching the secret message of the unconscious through purity of the soul.
A technique which turns colour into light, flexure and collisions:
immense explosions of deep crimson, stacks of yellows, chinks of whites, colour drowns design.

This is the art of Rodolfo Viola.
— Andrè Verdet

Art criticism

Andrè Verdet

Rodolfo Viola is to be classed among those painters who have a sense of the limitless cosmic space, and who make us perceive it in the works they place before our eyes, before our intellect, and before that intuition which is more or less developed in each of us, but which we carry deep within ourselves like a corner of a universal homeland.

The intuition becomes sentiment and certitude. Rodolfo Viola widens and makes this certitude dynamic; infact his special painting is full of rhythm and tension. Sometimes this rhythm and this tension are internal, fixed to the summit of an apparent calm, and at others, they explode, catch on fire and attain a pre-cyclonic force and a heavenly sense of drama which is more often solar than nocturne. Their effects act on us like a grandiose spectacle.

Rodolfo Viola actually presents space as it is, as he lays down his abstract architecture and décor of lines, forms and colours with wide, rhythmic nervous strokes charged with energy.

The painting of this artist conveys his resolute desire to attempt, to assert a primordial presence and a universal dimension on an infinite scale, which engulf the very origin of life. Its Suns, and visible or invisible, its real or imaginary stars, its physical or metaphysical aspect, its currents satured with high voltage electricity or its winds studded with symbols - this is the space he creates.

When the painter's vision is an simple and abstract as possible, swept clean of all figurative images and details, it reaches the maximum degree of effectiveness, and its evocative power is the most convincing. The rhythm of its forms, the espressiveness of its colours, joining according to individual desires form a copious and harmonious whole where the elements of the vital potential metamorphize into a pure plastic expression.

I spoke of the width of the stroke, the trajectory of which often sweeps the surface of the canvass like the invisible cutting lines of a luminous brush in movement. I should also mention the fullness of the colour, its celestial brightness, whether it be sun or sky shades. The reds, the oranges and the yellows have a warmth and volcanic intensity; whereas the blues and the greens, a fathomless flawor. The whites are shot with a blinding brightness.

The line structure, the volume of the forms and their arrangement give the sensation of an atmospherical depth.




Pierre Restany

Here is Viola! We can think of nothing else but that.

Viola! Here beyond the bed, the washbasin, the veil of violence! Trembling of course! We feel the sensations under our skin and the sole ambition of this painting is to communicate to us the elemental thrill wich fills us with the desire to feel like men once more, when we are worn out and our willing tongues and hands have exhausted friendship with their wisdow.

Smooth and lacquered in their brilliance Viola's paintings conjure up the state oh having just made love and makes us aware of the very feel of our being.

Remember the final monologue in Joyce's Ulysses!

" There is something sublime in these outlines which express a nothingness portraying the univesal."

And if all this were only the memory of a sexual encounter, of intercourse ending in a fart of premature ejaculation?

I love the  rapidity of the gesture which evokes the reflex sureness of the gesture of personal hygiene.

Yes! Viola is clean. Bright, transparent, full of acrobatic gestural subtleties.

His sumptious, sensual and exciting studio evokes endless horizons, the Gobi desert, Arizona, Colorado, Central Australia. Does water exist? Or not? The problem no longer exists.

The water we drink has the flavour of sex and brushing our teeth ( everyday action ). What choice should we make, what option should we choose? Viola closes his eyes and moves his loving hands…


Silvio Ceccato

I cant't remember much of the introduction, with the expection of a few confused words. Rodolfo Viola, painter, promoter and representative of a movement: Universalism. I am a student of the history of thought and mistrust all "…isms", all the more so when they confirm the Universe. Astronomers, physicists and astrophysicists fear the magician. Artist, beware of philosophers and philosophists. If you write music, if you paint, if you sculpture, etc., beware of words. Beware of words even if you happen to be a man of letters, because your off-the-road production is modest and tottering to say the least.

It is the best for you to pretend to share an ideology which can be used to your practical advantage. But no: Rofolfo Viola did not look sophisticated, on the contrary! He looked like a person that enjoys life and consequently also enjoy art, the most important step to take it others are to enjoy it.

And so, where did his Universalism originate from? I was told that Montecatini had set aside a museum for him: Presumption or modesty? In any event, my curiosity was raised. Viola had reaped a first success. And I wanted to get to know his paintings. Like all professionals of the human framework (I, as a cybernetic of the mind, as a logonic, study men so as to reproduce their works through mechanisms) I apply my arms, in this case the specific armsof those who work among art. And I had a guide, his "universalism" in fact.

There is a cross-fire:

a) How far is the artist guided by thought?

b) How far does he rely on the material he uses?

c) How original does he want to be? All this in scientific terms means how far does he intervene with his own original rhythmic pulsation, which is a component of aesthetic attitude, of art, for the artist as well as for the beneficiary?

So, to answer the first question, what did Rodolfo Viola have in mind with his Universalism and how did he appear in his works? Let me repeat: I'm afraid of these premises. I can remember a day when a painter had travelled for a day and a night to make me a gift of his paintings, in exchange for my opinion, which were intended to represent, almost authentically represent, the categories of Immanuel Kant. Obviously, he had had to add colours; and I didn't know how to remove them.

No, in this case the passage was lawful. What is universal in the world? Guicciardini would say: man who grieves over evil and grows tired of good. Viola rendered himself pre-Socratical: water, air, fire, earth, a certain mix; through the strength that bursts out from them and the strength with which man dominates them. As a painter he had colours, figures and shapes at this disposal. The water of ponds, streams, sea, ocean; mirror-like water and water that breaks onto and breaks coastlines; there's the water that is ridden by ships, sometimes in an exalting struggle.

Viola's choice leaves no doubt. It is difficult to forget Viola's ship in the storm. There's fire, which makes its appearance in the colour that lights up a scene; a scene that was invented so that it could be lit up. These works too cannot be forgotten.

Also because they release a strength which creates a vacuum round the painting. There are paintings that spread all around, that need a context in order to shine. Others that break out alone, and have to be kept isolated. They create a desert. We have reached the last cross-fire. Apart from the choice of thought and tast: where is Viola's original pulsating rhythm manifest?

I will tell you about one of my curious impressions. The painter seems to work in two stages. A first brutal, violent and linear imposition: and this can be dramatic, tragic but also poetic or lyrical; and a subsequent detachment, as though he was afraid of becoming too involved. Perhaps this is Viola's most original feature, the one that must have suggested universalism to him. And the onlooker has three alternatives. Partecipate in the first stage; and Viola is just another painter. Partecipate in the third; and Viola can sound cold in the hottest mountain. Partecipate in the first and second stage: and then we really are immersed in things that are greater than us.




A Manifesto of knowledge to bring Mankind closer to the language of the Arts

We are all part of creation, all kings,
all poets, all musicians;
we must only open up to discover
what is already there.

— Henry Miller

Universalism want

Everyone to seek for the values of being through the content of all art forms, spontaneously and far from all corrupting criticism.

It wants a positive return to comprehensibility of creative expression in order to save man from those castes which are caused by a technicalized world; the "living dead" whose consciousness is being gradually weakened day after day.

It wants painting, sculpture, literature, music and all other artistic expression to be always present, with the above mentioned qualitative premises, in order to bestow upon man that balanced ego which is his right by virtue of his superior intellect.

Universalists: for the conservation of beauty, inspirers of knowledge and brotherhood, through the sensation of their works.


Universalism invites

The collaboration of all the masters of art and nature to produce a message which is as near as possible to a universal outlook that goes beyond philosophical differences;

the fusion of purposes and works into an acceptable collective result: the arts have wished to communicate for thousands of years and the vehicles of expression have made the achievement of perfect simbiosis difficult. Let us no longer seek therefore the fruit of creativity in the singular, in order to constitute a complete and victorious force;

it invites all those who agree with the Universalistic concept to sign the Manifesto

it invites any proposal which might improve the Humanitarian undertakings carried out.

Universalists: towards an idea of interior union, so that the world may resemble man's purest essence..


Serie di francobolli della Repubblica di San Marino dedicate alle Opere d'Arte

Serie di francobolli della Repubblica di San Marino dedicate alle Opere d'Arte


The series of stamps issued by the Republic of San Marino in honour of Rodolfo Viola. The three original works are preserved at the Museum of San Marino.


The Republic of San Marino continuing the issues of stamps started with Tintoretto, Botticelli and Guercino selects the Academic Rodolfo Viola to represent contemporary painting and pays him the tribute of an issue of stamps which are the reproduction of three of his paintings.

Rodolfo Viola stamp series. Republic of San Marino 


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