Works on paper

"Having a sheet of white paper next to me has always been my strength, an open window on freedom"

Valeria Costa



parabola della vita umana

"Oltra alla Valeria scenografa, che ha operato con fertile estro, sino al 1962, in sinergia con il fratello Orazio Costa, grande Maestro del teatro italiano del Novecento; oltre alla Valeria pittrice che ha sempre amato creare privatissime, libere composizioni pittoriche nei modi più originali e svariati - che difficilmente si lasciano etichettare, tranne che per punti di contatto e affinità al limite del caso, con il nome dei movimenti artistici del nostro tempo (dall'Espressionismo all'Iperrealismo dall'Astrattismo alla pittura primitiva) -  ecco la Valeria più leggera e divertita, che in curiose istantanee sa ritrarre la parabola umana attraverso lo sguardo lungimirante e approfondito dell'ironia

Tiziana Sabuzi Giuliani



Victory to the irony! This particular 'intelligence of reality' helps to overcome the inconveniences and to dampen the tones of the small daily tragedies, as well as the cosmic dramas. It allows us to live with disenchantment and a pinch of detachment exciting feelings, like love. It helps to see the misery of oneself, and others, without reprobation and indeed with affectionate empathy.


The irony is one of the potential interpretations of Valeria Costa's work. The artist was skilled in using colors and abstract forms as well as with  sculptural sign or in the calligraphic patience of the fine hatch


Tiziana Sabuzi Giuliani

Valeria Costa

"Compagnia di voci soffuse" 

matita su carta, metà anni '80,

parte della serie di disegni Potere della TV

pubblicato nel libro "Elogio dell'Ironia" con testi a cura di Tiziana Sabuzi Giuliani, Galleria Trimarchi Arte Moderna (1995)


Valeria Costa, "Uses and customs change", pencil on paper mid 80s, published in the book "Elogio dell'Ironia" with texts by Tiziana Sabuzi Giuliani, published by Galleria Trimarchi Arte Moderna (1995)



"Precious, from the essentiality of the sign (often a simple pencil stroke),  faces emerge, and they know how to tell their story at a glance. Loved profiles, with an intense expression, portrait of strangers, silhouettes and glimpses rarely imitative, but evocative of hidden shadows, of expectations, of questions. To Valeria, the portrait was a mystery given by the personality, which appeared in the outline of a sign or that stood out in the scenario of tones arising from secret intimacy. Costa's portraiture talent testifies to her more human side: she knew how to go toward the other (...)"


Tiziana Sabuzi Giuliani  

Valeria Costa

"Self-Portrait "

ink on paper,

second half of the 1940s,

dimensions 20x30cm


An art that was born from travel


"(...) Our artist traveled a lot and took countless notes of her journeys. However, we cannot define her as an artist linked to the occasional encounters and the immediate suggestions of the traveling. For Costa, the artwork is still a universal projection where the painter connects with reality. Nevertheless, this reality is not the ordinary daily life but the perpetual one connected with the things of nature.


The artist intimately believes that everything is already present and knowable in Nature, therefore expressible in an artwork. Consequently, the painter is simply an individual lucky enough to perceive and capture this truth. The reality is obvious yet, at the same time, is very complicated to understand and to explain it. The work of art originates as part of this mediation between truth and its expression.


 Thus the impressions received from certain crucial places on earth, where she stayed, often repeatedly, as in Africa, Mexico, Brazil, have been transfigured becoming visual material for the construction of subsequent paintings. Within certain limits, therefore, Costa's art was born from travel and substantiated by the very idea of ​​the journey, more precisely with the constant intention of translating the images learned from the contemplation of nature into real figurative compositions, autonomous constructions hardly conceived as reproductions of things seen, but considered as autonomous visual facts, which have value in themselves."


Claudio Strinati 

Works on paper

The collection of the VCPHF preserves over two thousand works on paper created by the artist over almost sixty years including, figurative and abstract drawings made in pencil, ballpoint pen, marker, charcoal, and watercolor.