Italian painter   
Camogli January,3 1918 - Genoa October,27 2002  
One of the leading painters of the twentieth century in Liguria.  
Cecilia Ravera Oneto exhibited her paintings from 1953 in all the most important art manifestations in Italy and abroad.  She was honour guest (a wall of paintings) at MUSEO CIVICO DI BOLOGNA for the exibition “Arte Contemporanea 1973”.  Her paintings was included in the exibition “GENOVA,IL NOVECENTO” -1986- directed by Prof. Giuseppe Marcenaro for the Bank Cassa di Risparmio di Genova e Imperia e in the exibition “ITALIANA ‘86” in Buenos Aires (Repubblica Argentina).  In 1964 she was requested to paint afresco in Dozza (Imola).  Monograph concerning her paintings was written by Giorgio Kaisserlian, Germano Beringheli, Giuseppe Marcenaro and Rossana Bossaglia.  Nel 1989, she was member of one of the planning group, like artistic consultant , in the International Contest for the refurbishing of the area near Columbus house in Genoa.  Paintings of Cecilia Ravera Oneto are exhibited in Museums and collections in Italy and abroad. *ODESSA (Ukraina)- Pigorov Institute of paediatrics  *BERN (Switzerland)- Centre of vocational guidance   *NOTTINGHAM (United Kingdom)- Bertrand Russel House  *GENOA- Istituto di Medicina Interna (ISMI) University  (“Ars Medica”, cm.350 x 210)  *GENOA- Banca CARIGE Sede Centrale (“San Francesco e il  lebbroso”, cm. 115 x 200)  *PINEROLO (To)- Collezione Civica d’arte , Palazzo Vittone  
Her paintings,that testify the different periods of her work, are kept by the civic GALLERIA D’ARTE MODERNA (Modern arts Gallery) in the Parks of Nervi that exhibited them since May 1st to June 27 2004 at Raccolta Frugone (Nervi Parks). About the work Cecilia Ravera Oneto wrote : G. Angeli, A. Angiolini, E. Balestreri, I.M. Balestreri, A. Ballero, R. Benvenuti, G. Beringheli, F. Berardi, S. Beraldo, M. Bernardi, M.Bocci, R. Borzini, R. Bossaglia, L.Budigna,  G. Buscaglia, U. Callà, E. Calza, F. De Caria, L. Carli, L. Carluccio, R. Cenni, A.M. Cristaldi, M. Delpino, M. De Stasio, S. Dell’Orso,  S. Di Bartolomeo, A. Dragone. G.L Fallabrino,  W. Favero, M. Faustini, D. Ferin, M. Frojo, V. Furfaro, G. Fumagalli, M. Galasso, D. Gambetti, G.C. Ghiglione, C. Gigli Molinari,  G.Grazzini, G. Kaisserlian, M. Lepore, G. Migone, C. Maccari, F. Macrì, G. Marcenaro,  M. Marchiando Pacchiola, G. Marton.  M. Monteverdi, C. Munari, C. Niccoli, C. Gigli Molinari, N. Mura, A. Natali, S.Pagliari, F. Passoni, L. Pierro, M. Portalupi, G. Riva, G. Sforza,  R. Righetti, A. Ronco, A.M. Secondino, G. Servello, L. Servolini, D. Taverna, A. Turroni, R.Vitone, D. Volontè, M.Valli, S. Vento.  In April 1999 she was invited to lecture at the Istitute of History of art of the University of Genoa, course of Industrial archaeology, about here experience in the paintings concerning industrial subjects.  News, books and photos concerning Cecilia Ravera Oneto are consulting in the Historical Library of Biennale di Venezia  (item ONETO RAVERA).  
Cecilia Ravera, when painting, never gave up thinking. Out of a continous, persistent dialogue with a reality to be changed into free artistic images, within the working space of a canvas, she has drawn the conviction that the outside world is not a succession of indifferent perceptions, but a place of tensions and continous struggles. All her work is directed towards a search for certain significant intertwinings of these tensions and of these struggles perceiving in the images to be achieved something lying beyond certain representations common reality, that is to say a critical testimony of a being victoriously present in our unexpressed deep inside, against everything seeking to undermine it, to erode it and leave it in a primitive state.  The vivid narrative images, wich she offers us, exclude any symbolist reference, as a pictorial poertry. Her expressive language recalls, if even, certain sturdy post-impressionism eradicated from all aesteticizing complaisance, typical of a certain present-day figurative exigency, wich intends to leave always pre-eminence to beings and thins caused.  
The artist was one of the leading characters of '900 Century painting in Liguria. She attended Accademia Albertina and Politecnico of Turin; she began to exhibit in 1954 in national sphere, taking part in important exhibitions and attaining prizes and manifestations of prestige. The first times of her work was distiguished by the bare and disenchanted welcome of a realism that had nothing to do with the mythical suggestions of the Italian situation in the Thirties of past century.  She was always worried about reaching formal and stylistical datas that coincided with the sensitive perception of her look and judgment; Ravera Oneto transcribed, before, through a tender pictorical writing, with a clef of tonal chords and with a thoughtfully absorted drawing, the native landscape turning here attention in the Sixties to radicaly existential themes that was, with a pressing painting, set on fire with chromatic definitions, to all the modification of the natural appearances caused by the iron and steel industry. Simultaneously, developed at the border of a cold espressionism, she made paintings inspired by the health world, the surgical rooms and the new medical engines. Subsequently here painting gave way to a violent and sensual interpretation of nature.  Are unforgettable some of her paintings showing dazzling wistaria trees and the night lanscapes rising by the ferocious explosion of the colours. With the death of Ravera Oneto disappears one of the artists that contributed, with their own poetry and introspection, to the vitality of Ligurian painting.  
(Germano Beringheli - Il Secolo XIX  
October 29, 2002)newspaper, two days after the artist death. 
"While I was climbed up one of those that I name "bridge" and they call with technical and abstruse names or, with my tripod bound to the railings to hold out against the wind, I look, from the 90 meters of height of the gasholder, at my subjects, I talk with myself.   I furiously draw steel constructions, pinnacles, pipes that breaks the sky , I paint while I breathe its pungent and poisonous aroma, gas and smokes with the oddest colours and I think and I polemize...  
Those are the words used by Cecilia Ravera Oneto to describe her work, to be more exact, she tell an important share of her work, that of the industrial landscapes that she began in the Sixties and well testified in this trust. Fabbrica (Factory) (1965) evokes, in the smoky range of greys, the atmosphere described in her words. The drawings of harbour constructions in the Seventies, the first dated 1977, are witness of works that was conceived in similar situations.   The wide production of the painter looks to organize itself about two or three lines of research, that cyclicaly recur, as well many years later, associated by a sharp attention to the subject, penetrated and eaperienced till to repeat, in the corporeal pictorial deed, the emotion she felt: the Ligurian lanscape, with or without figures, the industrial landscape, evoked in its strenght and the inside, as well intimate and with figures, or aseptic of the medical surroundings. Versatile artist, Cecilia Ravera Oneto went through a large part of the twentieth century, declining her own language as far as the threshold of the abstraction, with unexhausted attention for that realistic datum that always constitutes the start of her painting, with open temperament for the novelties and continuous love for the painting.      
Alessandra Gagliano Candela -                        
PAESAGGI DI UN'ESISTENZA- "Omaggio a una pittrice Cecilia Ravera Oneto"- m&m Maschietto editore-Firenze   April 2004 
The work of Cecilia Ravera Oneto in chronological order through  photos and critical newspapers and books reviews
Genoa - from 15 May to the 15 june 2008  
Cecilia Ravera Oneto between glicini and chimneys
;>>>The Trust to Civic Modern art Gallery of Genoa-Nervi and the exibition at Raccolte Frugone>>>
a century since the birth   of the artist 
the MU.MA. Galata Museum of the Sea 
in the Old Port  of Genoa Via De Mari, 1 
hosts the exhibition 
dedicated to 
from June 28th at 2 September 2018
It takes a century since the birth of the Ligurian painter Cecilia Ravera Oneto (Camogli 1918-Genoa 2002): it is the occasion for an anthological exhibition that covers the themes, the developments, the passions of a long creative journey, always in dialogue with the landscape of Liguria, with the facts of history and the emotions of the profound changes of the late twentieth century. 
A significant selection of about 50 paintings and drawings from museums, public institutions and private collections is presented in the exhibition area of the "Museo del Mare"(Sea Museum Genoa). Through a pictorial and graphic production that extends over several decades and deals with different techniques, it has been identified as the leitmotif - though certainly not exclusive - the theme of the sea, also in relation to the Museum hosting the initiative. 
The drawing and the color, developed in an autonomous and parallel way in the graphic sketches and in the paintings on canvas, are two distinct expressive means for Cecilia Ravera Oneto. The design, often realized en plen air, directly in contact with the environment, translates the sensations and impressions of the artist in an urgent, rapid and very effective way. Painting, faced semre with unmistakable dramatic charge, is a successive phase of elaboration and emotion. The relationship with reality is always present (and well recognizable, for example in portraits or even in self-portraits), but filtered, questioned and recomposed, up to results that reach the threshold of abstractionism, the expressive freedom of color. 
Starting from an original and very personal elaboration of the landscape tradition of the twentieth century, along the entire career span, Cecilia Ravera Oneto expressed with great energy and intensity her continuous dialogue with the Ligurian reality. The vibrations of light and color of the high coasts of the Levant, in particular in the area of Camogli, the center of gravity of the soul, alternate with the documentation on the tumultuous growth of Genoa's port installments of the economic boom. A phase of strong participation is that in which industrial buildings appear in poetic and contradictory, the Moon on the port: Libya Bridge, a small nocturnal painting that is a moment of amre and a synthesis of an original expressive search. Thanks to the possibility of directly recognizing some of the places depicted by the artist, the public will be invited to identify with the painter's creative path, sharing her passion for the poignant and intense beauty of the Ligurian environment and also the precocious, almost prophetic denunciation of a his "betrayal" through disproportionate industrial resences.