Ink & Oils
1943 — 1977
Click on the thumbnails below to explore a specific period, or keep scrolling down the page to see the whole selection. There are 30 pictures in each section.
Neorealist Inks
(1943 — 1955)
(en. Timber Deposit)
Ink, 1952.
(en. The Bombing of Palermo)
Ink, watercolour & tempera, 24.5 x 18.5cm, 1945.
(en. Newspaper Still Life)
Ink, 60 x 30cm, 1953.
In the Collection of the National Gallery of Modern Art, Rome.
(en. Art Dealer Manuel Gasser)
Ink, 31.5 x 49cm, 1956.
(en. The Day Palermo was Bombed)
Ink, 27 x 34cm, 1943.
(en. Attic)
Ink, 46.4 x 41.5cm, 1953.
(en. The Bridge)
Ink, 24 x 44.5cm, 1951.
(en. Weavers)
Ink and watercolour, 1953.
Formerly in the Peter Otway Smithers Collection, London.
(en. Man Lying Down)
Ink, 1952.
Formerly in the Giorgio Soavi Collection, Milan.
(en. Woman with Baby)
Ink, 45 x 20.5cm, 1950.
(en. Jewish Cemetery)
Ink, 1947-1952.
(en. Bench Deposit)
Ink and watercolour, 1954.
Formerly in the Henry R. Clarke Collection, Paris.
(en. Planks and Newspapers)
Ink, 1953.
(en. The News Agent)
Ink, 20 x 31cm, 1951.
(en. The Greenhouse)
Ink, 60 x 28cm, c.1951.
(en. Warehouse Kids)
Ink, 1955.
(en. Stage)
Ink and watercolour, 1953.
(en. Creels)
Ink, 1953.
Formerly in the Collection of the Galleria dell’Obelisco.
(en. Acrobats)
Ink, 1951.
Formerly in the Collection of Count Emanuele Borromeo, Rome.
(en. The Construction Site)
Ink, 28.5 x 43cm,1951.
(en. The School)
Ink, 38 x 60cm, 1953.
(en. Banyan Tree)
Ink, 74.9 x 59.7cm framed, c.1951-53.
Currently in the Detroit Institute of Arts Collection. View here.
(en. Benches)
Ink, 1953.
Currently in the Collection of the Galleria Nazionale d’Arte Moderna e Contemporanea, Rome.
(en. Weavers)
Ink, 58 x 60cm, 1953.
(en. Saltzburg)
Ink and watercolour, 1954.
“His pictures are micrograms, each with its tiny charge of poetry, neatly set and as neatly detonated by the nice alignment of his wiry line”
Neorealist Oils
(1953 — 1957)
Oil on Cuban cigar box, 14.5 x 18cm, 1957.
(en. Lavender Flowers)
Oil on board, 55 x 55cm, c.1957.
(en. Figure)
Oil on canvas, 41.5 x 31.5cm, c.1953.
(en. Red and White Scarf)
Oil on canvas, 31 x 41cm, c.1953.
(en. Man on Top of Wooden Planks)
Oil on board, 45 x 45cm, 1952.
Oil, 80 x 50cm, 1954.
Formerly in the collection of Gasparo del Corso.
(en. Wandering Musicians)
Oil, 60 x 50cm, 1953.
Formerly in the Nathan Cummings Collection, Chicago.
(en. The Large Wood Stack)
Oil on canvas, 120 x 90cm, 1953.
Formerly in the Harry Schacter Collection, New York.
(en. Weavers)
Oil on canvas, 120 x 50cm, 1955.
Formerly in the John C. Borden Collection, New York.
(en. Fair Warehouse)
Oil, 70 x 35cm, 1955.
(en. Plumber)
Oil, 60 x 50, 1955.
(en. Climbing Man)
Oil on board, 90 x 90cm, 1955.
(en. Fishing Octopus)
Oil, 75 x 25cm, 1955.
(en. Bathing Establishment)
Oil, 100 x 60cm, 1955.
Formerly in the S. di Giuseppe Collection, Paris.
(en. Leaning Man)
Oil, 60 x 100cm, 1955.
(en. The Timber Guardian)
Oil on board, 80 x 70cm, 1954.
(en. The Skylight of the Warehouse)
Oil on board, 45 x 79.5cm, 1953.
(en. The Ice-Cream Seller)
Oil, 60 x 50cm, 1953.
Formerly in the Helena Rubenstein Collection. Currently in the St Louis University permanent Collection.
(en. Loading)
Oil on board, 40 x 60cm, 1954.
(en. Man on the Beach)
Oil on board, 50 x 60cm, 1954.
Formerly in the Hugh Chisholm Collection, Big Sur, California.
(en. The News Stand)
Oil on board, 70 x 43cm, 1953.
(en. The Black House)
Oil on board, 50 x 60cm, 1954.
(en. Man in the Warehouse)
Oil, 90 x 30cm, 1954.
(en. Man in a Deck Chair)
Oil, 70 x 40cm, 1953.
(en. The Beach)
Oil on board, 46 x 46cm framed, c.1953.
Collection Walker Art Center, Minneapolis. Given in memory of their uncle, John Rogers Shuman, by Susan Rogers Okie Bush, Jesse Shuman Okie, and Martha Okie-Fouracre from their J.R.S. Collection, 2000
(en. The Hospital Attic)
Oil, 45 x 45cm, 1955.
Formerly in the Galerie de France Collection, Paris.
(en. Wagon)
Oil on board, 59 x 18cm, 1953.
(en. Resting)
Oil, 34 x 45cm, 1953.
(en. The Zoo Keeper)
Oil on board, 50 x 60cm, 1954.
(en. Resting)
Oil on canvas, 40 x 30cm, c.1953.
“Bruno Caruso is Sicilian in body and soul. His appearance reveals unmistakably the mixed Greek, Roman, Saracen and Norman blood found on the island. He is deeply and passionately attached to his home town of Palermo, and his art would be unthinkable without his Sicilian background.”
The Asylum
(1952 — 1975)
(en. Recital)
Ink and watercolour, 34 x 49cm, 1974.
From the ‘Real Casa dei Matti’ Collection.
(en. Punishment)
Ink and watercolour, 32 x 68cm, 1954.
(en. Sleepwalking Psychic)
Pencil, 29 x 35cm, 1973.
(en. The Mad Rush)
Ink and watercolour, 51 x 69.5cm, 1970.
From the ‘Real Casa dei Matti’ Collection.
(en. Delicate Flower)
Ink, c.1970’s.
From the ‘Real Casa dei Matti’ Collection.
(en. Madman in a Straitjacket)
Ink and watercolour, 32 x 68cm, 1954.
Formerly in the Jerome Zipkin Collection, New York.
(en. Poster Against the Use of Straitjackets)
Ink, 31.5 x 49cm, 1960.
From the ‘Real Casa dei Matti’ Collection.
(en. Maccarone, the Baker)
Ink and watercolour, 33 x 70cm, 1953.
(en. Hunger Strike)
Ink and watercolour, c.1970’s.
From the ‘Real Casa dei Matti’ Collection.
(en. He’s Worse than Us)
Ink and watercolour, 59 x 49cm.
(en. Straitjacket and Destination Neuro…)
Ink, 33 x 24cm, 1968.
From the ‘Real Casa dei Matti’ Collection.
(en. Commotion)
Ink and watercolour, 1970’s.
From the ‘Real Casa dei Matti’ Collection.
(en. The Wig)
Pencil, 33 x 48cm, 1965.
(en. The Psychiatric Hospital of Palermo)
Ink and watercolour, c.1970’s
From the ‘Real Casa dei Matti’ Collection.
(en. She Does Not Recognize)
Pencil, 30 x 25cm, 1973.
(en. The Cannon Woman)
Ink and watercolour, c.1970’s.
From the ‘Real Casa dei Matti’ Collection.
(en. Straitjacket)
Ink and watercolour, 32 x 68cm, 1954.
(en. The Madman in the Showers)
Ink and watercolour, 32 x 68cm, 1954.
Formerly in the Andre Kalman Collection, Manchester.
(en. The Female Arm)
Ink and watercolour, 47 x 53cm, c.1970’s.
(en. Mean)
Ink and watercolour, 35 x 50cm, 1975.
From the ‘Real Casa dei Matti’ Collection.
(en. Praise be my Lord)
Ink and watercolour, 49 x 35cm, c.1970’s
From the ‘Real Casa dei Matti’ Collection.
(en. Spasm Clinic)
Ink , 1954.
(en. Two Women from the Mental Asylum)
Pencil, 49 x 43cm, 1963.
(en. Mentally Ill)
Oil on canvas, 40 x 50cm, 1967.
(en. Carnival in the Mental Asylum)
Ink and watercolour, 56.5 x 68.5cm, 1970.
From the ‘Real Casa dei Matti’ Collection.
(en. Fool)
Ink and watercolour, c.1970’s.
From the ‘Real Casa dei Matti’ Collection.
(en. The Guilt Complex)
Oil, 35 x 27cm, 1964.
(en. The Old Madwoman)
Ink and watercolour, 32 x 68cm, 1954.
Formerly in the Beatrice Monti Collection, Milan.
(en. The Didactic Management Table)
Ink and watercolour, c.1970’s.
From the ‘Real Casa dei Matti’ Collection.
(en. Exhibitionist)
Ink, 35 x 46cm, 1973.
From the ‘Real Casa dei Matti’ Collection.
“What Caruso has captured is the duality with which one understands being sectioned: the misery, the poverty, the degradation, the brutality, and all combined, madness as the only form of expression for those confined to a place where madness is the norm.””
Industry & Illustration
(1957 — 1963)
(en. Petrol Bath)
Ink and watercolour, 1958.
From Esso Rivista Magazine, July 1958.
Ink and watercolour, 55 x 85cm, 1962.
(en. The Eagle Cage in Villa Giulia)
Ink, watercolour & tempera, 70 x 40cm, 1963.
(en. Train from Harlem)
Ink and watercolour, 76.5 x 50cm, 1962.
(en. The Conservatories)
Ink and watercolour, 48 x 40cm, 1963.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. The Zoo)
Ink, c.1962.
(en. Out till Dawn)
Ink and watercolour, 74 x 53cm, 1962.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. From Calligraphy to Memory)
Ink and watercolour, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. The Moment of the Tip-off)
Ink, c.1961.
Illustration for Italsider Magazine, 1961.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. Naples Real Steel)
Ink, c.1961.
Illustration for Italsider Magazine, 1961.
(en. Banyan Tree)
Ink, c.1961.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
Ink, c.1960.
Illustration from Figlia Cane by Giorgio Soavi.
(en. Botanical Gardens)
Ink, c.1963.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
Ink, c.1960.
Illustration for Fortune Magazine, June 1960.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
(en. Naples Steel)
Ink, c.1961.
Illustration for Italsider Magazine, 1961.
(en. Petrol)
Ink and watercolour, 1957.
From Esso Rivista Magazine, May 1959.
(en. Please, no Smoking)
Ink, c.1960.
Illustration for Fortune Magazine, June 1960.
Ink, c.1960.
Illustration for Fortune Magazine, June 1960.
Ink, c.1960.
Illustration from Figlia Cane by Giorgio Soavi.
(en. From Calligraphy to Memory)
Ink, c.1960.
From Dalla Calligrafia alla Memoria for Olivetti.
Nature & Madness
(1966 — 1974)
(en. Little Still-Life Under the Ficus Tree)
Oil on canvas, 40 x 30cm, 1971.
Ink and tempera, 52 x 64.5cm, 1974.
(en. Flights of Fantasy)
Ink, 48.5 x 40.5cm, 1971.
From ‘Repertorio Animalsco’ Collection.
(en. The Last Carnival)
Ink, watercolour and tempera, 70 x 50cm, 1969.
(en. Australian Aborigine)
Ink and watercolour, c.1969.
From ‘Elogio della Follia’ Collection.
(en. The Biggest Sewer)
Ink and watercolour, 48 x 40.5cm, 1972.
From ‘Repertorio Animalsco’ Collection.
(en. He Did Not Speak)
Ink, 1968.
From ‘Elogio della Follia’ Collection.
(en. Psychotherapy)
Ink and watercolour, 50 x 70cm, 1969.
From ‘Elogio della Follia’ Collection.
(en. The Great Ficus)
Ink and tempera, 155 x 155cm, 1966.
(en. Destruction)
Ink and watercolour, 70 x 50cm, 1969.
From ‘Elogio della Follia’ Collection.
Ink and watercolour, 1969.
From ‘Elogio della Follia’ Collection.
Ink, 60 x 40cm, 1969.
From ‘Elogio della Follia’ Collection.
Ink, c.1968.
From ‘Meraviglie della Natura’ Collection.
(en. The Black Panther Attacks the Paper Tiger)
Ink, 1969.
From ‘Elogio della Follia’ Collection.
(en. The Large Ficus)
Oil on canvas, 150 x 100cm, 1973.
(en. Sea Mushroom)
Ink, c.1968.
From ‘Meraviglie della Natura’ Collection.
(en. Jungle)
Ink, c.1968.
From ‘Meraviglie della Natura’ Collection.
(en. Subterranean Ecology)
Ink and watercolour, 48.5 x 40.5cm, 1972.
From ‘Repertorio Animalsco’ Collection.
(en. The Abandoned Room)
Oil on canvas, 140 x 100cm, 1972.
(en. Laughing Hyena)
Ink, c.1968.
From ‘Meraviglie della Natura’ Collection.
(en. The Guardian Angel)
Ink and watercolour, 50 x 35cm, 1969.
From ‘Elogio della Follia’ Collection.
(en. The Fly)
Ink, c.1968.
From ‘Meraviglie della Natura’ Collection.
(en. Offer of a Sea Shell)
Tempera, 60 x 46cm, 1969.
(en. The Octopus [The Capital])
Ink and watercolour, 43 x 40cm, 1971.
From ‘Repertorio Animalsco’ Collection.
(en. Reflected Objects)
Oil on Canvas, 35 x 50cm, 1970.
(en. Jorge Luis Borges’ Dream)
Ink and watercolour, 49.5 x 40.5cm, 1971.
From ‘Repertorio Animalsco’ Collection.
Ink, c.1968.
From ‘Meraviglie della Natura’ Collection.
(en. Papier Mache [Imperialism is a Paper Tiger])
Ink and watercolour, 48 x 40cm, 1971.
From ‘Repertorio Animalsco’ Collection.
(en. The Bombing of Hanoi)
Ink, 1969.
From ‘Elogio della Follia’ Collection.
(en. Madness)
Ink, c.1968.
From ‘Meraviglie della Natura’ Collection.
Global Politics
(1959 — 1975)
(en. A Memory of Malcolm X)
Ink, 1959.
From the ‘Americana’ Collection.
Ink, 1963.
From the ‘Pugno di Ferro’ Collection.
(en. The Prince of Petrol)
Ink, 1963.
From the ‘Pace in Terra’ Collection.
(en. Uncle Ho)
Ink, 1969.
From the ‘Il Testamento di Ho Chi Minh’ Collection.
(en. Pinochet of Death)
Ink, 1975.
(en. Manifesto for the Release of Angela Davis)
Ink, 1970.
For L’Ora newspaper.
(en. Monkey Dressed-up by the Vietcong on the streets of Saigon)
Ink, 1966.
Illustration for ‘In the Jungle with the Vietcong’ by W. Burchett.
Ink, c.1963.
From the ‘Tigre di Carta’ Collection.
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
Ink, 1963.
From the ‘Pace in Terra’ Collection.
(en. French Algeria)
Ink, 1962.
From the ‘Pugno di Ferro’ Collection.
(en. Workers, Watch Your Heads)
Ink, c.1962.
From the ‘Pugno di Ferro’ Collection.
(en. A Slice of Melon is Worth More than the Moon)
Ink, c.1968.
From the ‘Elogio della Follia’ Collection.
(en. Police Brutality. In Alabama they attack Black people with special batons with an electric tip commonly used on animals. Who will protest first, the animal rights or human rights lobbies?)
Ink, c.1963.
From the ‘Tigre di Carta’ Collection.
(en. The Meeting of Franco and Salazar)
Ink, 1963.
From the ‘Pace in Terra’ Collection.
Ink, 67 x 41.5cm, 1963.
From the ‘Pugno di Ferro’ Collection.
(en. Congo, the Latest Fetish)
Ink, 76 x 60cm, c.1963.
From the ‘Pugno di Ferro’ Collection.
(en. Franco the Criminal)
Ink, 1962.
From the ‘L’Astrolabio’.
Ink, c.1963.
From the ‘Tigre di Carta’ Collection.
(en. Mexico is Very Beautiful)
Ink, 89 x 51.5cm, 1961.
From the ‘Pugno di Ferro’ Collection.
(en. The Vietcong ENter the US Embassy in Saigon)
Ink, 1968.
From the ‘Americana’ Collection.
(en. Algeria, the Latest Repression)
Ink, 1962.
From the ‘Pugno di Ferro’ Collection.
Ink, 1968.
From the ‘Americana’ Collection.
(en. In Memory of Patrice Lumumba)
Ink, c.1962.
From the ‘Pugno di Ferro’ Collection.
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
Ink, 1963.
From the ‘Pace in Terra’ Collection.
Ink, 1963.
From the ‘Pace In Terra’ Collection.
Ink, 1961.
From the ‘Pugno di Ferro’ Collection.
(en. Procession in Spain)
Ink, 1963.
From the ‘Pugno di Ferro’ Collection.
“His drawings are incisive, harsh, conscientiously merciless and strike at the heart of the hypocrisy of our times. His moral zeal gives his designs rare force: not the force of realism, which is a very different thing, but of truth.” ”
Italian Politics
(1957 — 1975)
(en. The Death of the Anarchist, Pinelli)
Ink, 1972.
(en. All the Mafia of Italy)
Ink, 76 x 60cm, 1974.
Made for the cover of L’Espresso magazine
(en. The Great Electors)
Ink, 1963.
From the ‘Pace in Terra’ Collection.
(en. Disarm the Police)
Ink, 1973.
Drawn in response to the murder of the student, Roberto Franceschi by the Police.
(en. Let’s All Toast to Campaign Against Hunger)
Ink, c.1963.
From the ‘Pace in Terra’ Collection.
(en. An Investment Against Communism)
Ink, 50 x 63cm, c.1961.
From the ‘Pugno di Ferro’ Collection.
(en. The Shotgun)
Ink, c.1962.
From the ‘Mafia’ and ‘Il Pugno di Ferro’ Collections.
(en. The Paper Tigers)
Ink, 1964.
From the ‘Tigre di Carta’ Collection.
(en. Just Go Down that Path)
Ink, c.1963.
From the ‘La Mafia’ Collection.
(en. The Partinian Plant)
Ink and watercolour, 80 x 55cm, 1960.
(en. No Difference Between a Missile and a Bicycle)
Ink, c.1963.
From the ‘Pace in Terra’ Collection.
(en. Nazionalism)
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
(en. Pontius Pilot)
Ink, c.1962.
From the ‘Pace in Terra’ Collection.
(en. We Kill Whoever We Please)
Ink, 1963.
From the ‘Pace in Terra’ Collection.
(en. Crime of Honour: Dear friend wouldn’t it be better if you could just divorce)
Ink, c.1960’s.
From ‘Vie Nuove’ magazine
(en. Patriarchy)
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
(en. Prosperity)
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
Ink, 1961.
From the ‘Pugno di Ferro’ Collection.
(en. I’ll Buy Everything)
Ink, 1961.
From the ‘Pugno di Ferro’ Collection.
(en. Permanent Scarring, Revenge for Betrayal)
Ink, c.1963.
From the ‘La Mafia’ Collection.
(en. Catholic University)
Ink, c.1963.
From the ‘Pace in Terra’ Collection.
(en. Swept-up in her Passions)
Ink, c.1960’s.
(en. Eggs in the Pan. The censor would rather castrate himself than get his hands dirty)
Ink, c.1963.
(en. Dinner Against Hunger)
Ink, 1963.
From the ‘Pace in Terra’ Collection.
(en. Guido Carli: Why I’m Leaving)
Ink and watercolour, 1975.
Cover of L’Espresso’ Magazine
(en. The Hand of Man)
Ink, c.1963.
From the ‘Pace in Terra’ Collection.
(en. We’ll defend the Sicilian Parliament)
Ink, 1961.
From the ‘Pugno di Ferro’ and ‘La Mafia’ Collection.
(en. The Mafia’s Bankers)
Ink and watercolour, 1975.
Front cover of L’Espresso magazine.
(en. Shotgun in the Face for Betrayal: Visit Sicily, the land of the Blossoming Almond Tree and Eternal Spring)
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
(en. The Sun Shines on the Happy)
Ink, c.1961.
From the ‘Pugno di Ferro’ Collection.
Mythology of Modern Art
(1974 — 1977)
“With these drawings I have tried to paraphrase and put into present-day terms a famous remark by Karl Marx made on ancient art: ‘Mythology was not only the arsenal of Greek art, but also its womb’. That is to say ‘Art is not only the mythology of modern times, but their nourishment.’ And furthermore, after having considered it a privilege of the few, we cannot now afford the luxury of doing without it.””
(en. The Front Cover of the Mythology of Modern Art)
Ink and watercolour, 1975.
From the ‘Mitologia dell’Arte Moderna’ Collection.
(en. Biennales, Triennials, Quadrennials. How One Ages!)
Ink, 36 x 50cm, 1975.
A homage to an unknown painter who participates in every official exhibition. From the ‘Mitologia dell’Arte Moderna’ Collection.
(en. Kandinsky Begins the First Abstract Painting)
Ink, 32.5 x 41cm, 1975.
From the ‘Mitologia dell’Arte Moderna’ Collection.
(en. Self Portrait of a Master Hyperrealist Artist)
Ink, 38 x 56.5cm, 1975.
The projector, in place of the drawing, is becoming ever more present in figurative art. From the ‘Mitologia dell’Arte Moderna’ Collection.
“Bruno Caruso has been letting his imagination play on the figures and contingencies of modern art. Not superficially to strike a few sparks of graphic wit from them, but with all the punctilious profundity that belongs to him.”
