2RC Rome - Milan
Book "Baudelaire" - The vampires
Book “Baudelaire” - Spleen
Book “Baudelaire” - Le flacon
Book "Baudelaire" - La beaute
Book "Baudelaire" - L'horloge
At the beginning of 1975 Afro began to dedicate himself to small temperas on paper to be used as projects for a series of aquatints that he had thought of composing in a book once he had found the right text. These works were born with an extreme happiness, they lived very well together. At this point it became important to find a text that would tie them together in some way. The search for a text was not easy; these projects clearly maintained the heraldic tone that had characterized Afro's pictorial production in the last year. The search had therefore turned towards Italian and French poems of chivalry, but there always remained something that did not agree with Afro, with his poetics and his person. Continuing to read and discuss, jumping from one century to another, from one country to another, the choice stopped at Baudelaire because, even though he had no specific connection with these last works, he was the poet closest to Afro's painting seen in the whole arc of his production. A classical painting in which, as Afro himself says, the off-key note is inserted, the violent contrast that serves to stamp, to tune, thanks to this off-key note, the whole work.
These works are not presented as a book, intended as an object bound together, but composed with the texts that came closest to the single engraving, in some cases making a kind of story when, as in the case of the " Invitation au Voyage ", the poem is was divided into three parts. As Afro worked on these tempera paintings he thought that some subjects could be translated instead that in graphics in tapestries. As early as 1 he had provided his own sketches which have been used in this sense.
The contemporary origin of these works has suggested presenting together this series of ten engravings and eight tapestries; of the latter, only four are part of the 1975 projects.