Ernesto Bertani was born on February 3rd, 1949 in Buenos Aires (Argentina). He is the second child of a traditional middle class family, and the result of a blend of immigrant generations from Italy, France and Spain.
During elementary school, he was an outstanding student; however, this did not apply during high school. Apparently, Ernesto got bored and instead of listening to his teachers, he would draw or illustrate the last football match he had seen. When he felt romantic at heart, he would draw erotic motifs. His aunt Bertha Rioboo, painter and gallery worker, would take him to art exhibitions and it was together with her, by observing how she painted during the weekends, that he discovered that he could also become a painter. Nevertheless, he started studying Architecture, which he dropped out during the second year to enjoy, for the first time, the “freedom of painting all the time…”
Self-taught until the age of 24, he later studied sculpture with the master Leonardo Rodríguez. In 1975, in an attempt to give color to his gypsums, he resumed his classes with Victor Chab, mentor who gave him the encouragement he needed to work as a full time painter.
He has received numerous awards, among which are: the First Price for Painting (1982) and the First Price for Drawing (1983) at the Municipal Hall in Buenos Aires; the Casa de las Américas Award, at the Havana Biennial (Cuba, 1984), the Grand Prize of Honor at the National Drawing Hall (1994) and the Grand Prize of Honor at the National Painting Hall (2002).
He has been an exclusive artist at Zurbarán Gallery, one of Argentina’s most well known galleries, which is in charge of the organization of his exhibitions and the edition of the publications that describe his work.
In his pictorial work, he elaborates images whose mimesis with the real exceeds the analogy. His hyper realistic technique is the most appropriate way to transmit messages of great rhetoric elaboration, in which the simplest elements are combined with irony and clarity. His series on cashmere images, in which he reflects on clothing and its correlation with the social imaginary, also stands out.