For too long, Ettore Fico's pictorial work has been unjustly confined within the narrow limits of Piedmontese regional art linked to post-Casorate or inversely late-Futurist styles. An anticampanilistico, vital and European and European inspiration goes beyond his work since his pictorial beginnings as a self-taught painter or in the academic atelier of the master Luigi Serralunga.

Through a very vast corpus of oils, tempera, watercolors, pastels, engravings and drawings, which includes several thousand works, Ettore Fico speaks to us of an intimate and private world, very sparsely populated, inhabited more than by people, by the objects of his studio , from outside her garden, from models from the atelier, from pets that always have a name and from coloristic impressions, always poised between reality and unreality.

Like a fil-rouge, Ettore Fico's pictorial path unfolds over a period of over half a century, always poised between abstraction and figuration, in which the boundaries are sometimes blurred, sometimes clear, as if a fear, or a hidden thought, wanted to conceal the artist's real feelings from the world, which he respected, but which, with a skeptical sufficiency, he barely tolerated. The aesthetic trajectory, covered by the first works up to those realized a few days before his death, make up a fragmented, whimsical mosaic, which only through a careful examination free from preconceptions, can fully restore a precise, albeit personal, vision that Fico had of the world and his way of interpreting it. Through a very large corpus of oils, tempera, watercolors, pastels, engravings and drawings, which includes several thousand works, Ettore Fico speaks to us of an intimate and private world, very sparsely populated, inhabited more than by people, by the objects of his studio , from the flowers in her garden, from the models in the atelier, from the pets that always have a name - and only for the Italian registry do not even have "her surname" - and from coloristic impressions, always poised between reality and unreality.