A central aspect of Rinaldo Invernizzi’s work as a painter is his method of working in series, where the act of painting becomes a perceptible form of research. He usually draws inspiration from the universal themes of nature, faith, and vanitas. Every cycle is conceived in a deliberately restricted palette, focusing on the expressive value of colour.  By spreading the paint in evocatively textured movements, the paint as substance becomes part of his compositions. 

Rinaldo Invernizzi’s passion has always been art in the broader sense, a sort of Gesamtkunstwerk, including, but not restricted to, visual arts, literature, music and theatre. Although he initially pursued a career in the financial sector, he had already begun experimenting with the medium of painting, when he was fourteen. Since the early 2000s, he has participated in group and solo exhibitions in academic and religious institutions. In 2007, he enrolled at the Brera Academy of Fine Arts in Milan and in 2012, he obtained a diploma in Contemporary Sacred Art.  

Among the most recent exhibitions are: ‘Omaggio alla Cappella Portinari. Rinaldo Invernizzi – Tra storia dell’arte e spiritualità’, Sant’ Eustorgio, Milan, 2024; ‘La mia prima patria sono stati i libri’ (My first Homeland were Books), Biblioteca Marciana of Venice, 2023; ‘Smeraldo. Antracite. Cobalto.’ (Emerald. Anthracite. Cobalt.), Palazzo Martinengo, Venice, 2022; ‘Du paysage’ (On Landscape), Thiré, Pays de la Loire, on the occasion of the annual Music Festival ‘Dans les jardins de William Christie’, 2021.