ANTONINO SARTINI’S BIOGRAPHY

Antonino Sartini (Crespellano, 1889 – Bazzano, 7 May 1954) was an Italian painter.

He has been called the “painter of serenity”^[1] and belongs to that group of landscape painters of the early 1900s, such as Luigi and Flavio Bertelli, Ferruccio Giacomelli, Giovanni Romagnoli, Gino Marzocchi and Garzia Fioresi, who painted the Emilia-Romagna landscapes, reproducing its beauty and witnessing its changes over time, with the paintbrush^[2].

Education and biography^[3]

Born in Crespellano in 1889, once municipality [now merged into the new municipality of Valsamoggia] about twenty kilometers from Bologna and a few more kilometers from Modena, Antonino Sartini was trained in an environment rich in stimuli to art and painting : his father, Luigi, is an expert decorator, from whom he learns the first notions of painting; his brother Giuseppe, two years older than Antonino, is a painter.^[4]

During the First World War, he served in military service, first at the military hospital in Bologna and then in field hospitals, close to the front. In February 1918 his fiancée Irene Berozzi died and after the girl’s death the young Sartini began to paint following the lessons of his “masters” Alessandro Scorzoni and Flavio Bertelli. Sartini remained a friend of the latter throughout his life, sharing his studio in via del Poggiale, now via Nazario Sauro in Bologna, with Flavio Bertelli for many years, and sustaining him for a long time both psychologically and concretely in the difficulties of his life, hosting him in Crespellano during a period of economic difficulty in the early 1930s. Meanwhile, Sartini finds a job as a draftsman at the Land Registry Office, but this does not prevent him from continuing to cultivate his love for painting.

Sartini’s first known works are from the end of the 1920s and his first personal art exhibition is from January 1931: at the “Galleria D’arte” [Art Gallery] of Casa Berti Pichat, where Sartini presents 27 works in a room of his own, which flanks other spaces. reserved for Flavio Bertelli and other painters, for a total of 75 works on display. Here, Sartini is welcomed by critics in laudatory tones: the chronicler Armando Pelliccioni wrote in 1931 in the magazine “il Pavaglione”: “Antonino Sartini is a new recruit who joins the large group of Bolognese artists. He is a novice who s’ announces with such qualities that many stars of the local firmament have not yet reached and, perhaps, will never reach “^[5]. Another reporter, Nino Padano, wrote in the “Corriere Padano” also in 1931: “Antonino Sartini, who exposes himself for the first time to the judgment of the public, was a kind of revelation. In fact, as soon as you enter the room, you try immediately the impression of being attracted by the bright and singing variety of his palette “^[6]. And the same reporter writes on the magazine “Le arti plastiche”: “Sartini has an undoubted and lively native taste for painting“^[7]. Finally, the reporter Italo Cinti, writes on “il Comune di Bologna”: “Sartini is a source of joy: he has such works of art that would be liked even by certain disdainful censors“^[8].The mayor of Bologna personally chooses and approves the purchase of some of the works on display to enrich the municipal gallery of modern art at Villa Armandi Avogli

and to encourage the work of local artists: by Flavio BertelliSolitudine [Solitude] is purchased; by Sartini, Vecchia strada a Bazzano [Old street in Bazzano]. Both works do not appear today in the collections of the modern art gallery, because they probably went missing, along with many others during the Second World War. Sartini’s, on the other hand, is conserved in the municipal gallery, the Paesaggio di neve [Snow landscape] of the same year 1931. Still in 1931, in August, he participated in the “Mostra del paesaggio porretano” [exhibition of the Porretano landscape] in Porretta Terme (today a hamlet of Alto Reno Terme) , together with other painters including his friend Flavio Bertelli. In the following years, the presence of Sartini’s works at local exhibitions multiplied.

In October 1932, the exhibition of the club”Amici dell’Arte” [Friends of the Art] was held at the “Circolo della Stampa” [Press club] in via Galliera and Sartini is present with his works, together with other Bolognese painters. The reporters of the magazine “Il Comune di Bologna” write that Sartini has two good landscapes, where there is an attempt of Sartini to free himself from the stylistic influence of the Bertelli (Luigi and Flavio Bertelli). Even the important periodical of culture and art “Vita Nova”, the unidentified reporter (perhaps Italo Cinti) writes: “Sartini has a taste all his own for certain warm browns of blocks of flats, dry hedges, backlit land, tangle of brushwood that he renders with his paintbrush in a way that is his one. The Bertellian manner, with light touches of a round brush, is hardly found in him anymore, although a sweet feeling of contemplation of nature continues to manifest in his works “.

In 1933 Sartini took part in four events: in January, at Palazzo Albicini in Forlì, where he was invited together with his friend Bertelli and where other painters took part. Still in January-February he exhibits at the “Mostra del bozzetto” [Exhibition of the drawing] set up by the “Società Amici dell’Arte” [Society Friends of Art] in the Via Santo Stefano 14. Between May and June, he is among the artists present at the exhibition held in the “Sala degli Anziani” [Hall of the elderly] in “Palazzo d’Accursio” and this event closes the first year of life of the “Circolo Amatori e Cultori di Bologna” [Bologna Amateurs and Cultists Club]. On the newspaper “Il Resto del Carlino” the art reporter devotes quite a few lines to Sartini’s works: “See the painting Primavera [Spring], with those white flowers matched with the clouds”; Rio Meloncello; Vacca al pascolo [Grazing cow] and some others. All his paintings are varied aspects of a single and dominant sentimental, idyllic, pastoral, contemplative note“. In August, Sartini won the gold medal diploma at the event organized in Riccione by the same club as part of the “Beneficial Sampling Show”. In July, a long article by Italo Cinti dedicated to Antonino Sartini was published in the periodical “Il Comune di Bologna”. The critic recalls Sartini’s initial and passed dependence on Bertelli (Luigi and Flavio) and underlines “the elementary art of sentiment“, because” he treats the landscape, treats the countryside sometimes with a subtle melancholy, sometimes with a harmonious contemplation, with that sense, we will say so, internal, that is, humanized, not coldly descriptive of things“, concluding with a fully acceptable observation: “There is always a chaste and serene intimacy in Sartini’s works“.

In March 1934, an exhibition on four painters was proposed at the “Circolo Artistico” [Artistic club], including Sartini, which presents various works, including Montagna Modenese [Modena mountain] and Rio della Cassola [River of Cassola]. In April, the reborn “Circolo Artistico”, the result of the unification of the different Bolognese clubs of art lovers wanted by the new mayor, Angelo Manaresi, organizes a large exhibition of works by Adolfo De Carolis in the halls of the Cassa di Risparmio at Palazzo Pepoli , where there is an exhibition of local artists, including Sartini which exhibits a landscape. In May, Sartini is also present at the “IV Esposizione dell’Arte del Paesaggio” [IVth Landscape Art Exhibition] held at the Littoriale.

Exactly one year later, in May 1935, an art exhibition of seven painters was held in the new headquarters of the “Circolo Artistico”, in via Zamboni, including Sartini, which presents Povere cose sotto la neve [Poor things under the snow], Case sul Ravone, Giornata grigia [Gray Day], Vita rustica [Rustic life], Via San Mamolo and other landscapes caught on the edge of the city, especially where the last houses border on fields and trees and streams, leaving the countryside. The art chronicler of “il Resto del Carlino” writes that “it is always on the basis of the equivalence” landscape-state of mind “that he is widening the stratum of his pictorial “stain”, uniting it more, and his nevi, its bodies of water have the fixity of silences “^[9], while in the magazine “Il Comune di Bologna” in June, the same critic notes: “Sartini has widened the brim of his paintbrush stroke, has made it more loose, more decisive […]. It seems that things, in his painting, condense through the laying of these thin, broad as petals, soft as flowers “^[10]. In the same 1935 a new exhibition of the Tuscan-Emilian Apennines was held in Porretta, in August, promoted by the local Tourist Office, with three rooms dedicated to painting and one reserved for photography and where Sartini also participates together with eleven others artists, selected by the acceptance jury.

In the second half of the 1930s, the esteem got by Sartini in Bologna and in the province still earned him numerous invitations to the exhibitions of the “Circolo Artistico” and to the wider provincial and interprovincial trade union exhibitions.

In March 1936, it was the turn of the “Circolo di Cultura” [Culture club] and in this case the reporters spoke expressly of “Pittori bolognesi dell’ottocento” [Bolognese painters of the nineteenth century], uniting Luigi Serra, Luigi Bertelli and Alessandro Scorzoni with their friends, much younger, namely Flavio Bertelli and Sartini who presents the work Cappella di montagna [mountain chapel]. In the same month, the now traditional painting and sculpture exhibition of the “Circolo Artistico” in Bologna is also held in the two social rooms of via Oberdan, where Sartini continues to pour out, in all its landscapes, the interiority of a contemplation in love. In November, the “V° Mostra Sindacale dell’Emilia Romagna” [the 5th Trade Union Exhibition of Emilia Romagna] opens, to which the jury invites more than one hundred artists, including Sartini.

1937 for Sartini is no less full of events: he, in fact, is present: both at the inaugural exhibition, in January, of the “Circolo Artistico” (where once again “the loose and fast staining” of his pictorial notation is reported), and the one that precedes the summer closure, in June (where reporters point out that Sartini, in the work “Casette di Giaroli“, “gives us a poem of a touching humanity“), and, finally, at the exhibition that reopens the doors of the “Circolo Artistico”, in December, where Sartini proposes the works: Frutta [Fruit] and Pomeriggio d’inverno [Winter afternoon].

In November 1938, Sartini was invited once again to the “Sindacale dell’Emilia Romagna”, the exhibition which, according to reporters, “collects the best artistic production of the eight provinces of Emilia Romagna“.

Between March and April 1939, Sartini is present again at the exhibition of the members of the “Circolo Artistico”. 45 works by 23 painters are presented, including Flavio Bertelli and Sartini.

Sartini’s last exhibition appointment, before the fall of the war in the tragic years of the German occupation, took place in the autumn of 1942, when the “IX° Mostra interprovinciale del Sindacato [the 9th Interprovincial Union Exhibition] opened in the rooms of the “Dopolavoro Professionisti e Artisti”.

After the war, Sartini seems to notice a decrease in thrust, a lesser desire to expose himself. Few are the exhibitions in which he participates: the “il premio Casalecchio” [Casalecchio Prize] of 1953; an unspecified exhibition in a museum in Milan and certainly the periodic exhibitions of the “Circolo Artistico”, of which he remains a faithful partner and for which, in 1951, he ordered the first anthological exhibition of Flavio Bertelli, ten years after his death.

Like his painter friend, Flavio Bertelli, who died at the Rimini Hospital in 1941, Sartini also died at the Bazzano Hospital (now called Valsamoggia) on 7 May 1954. “His works are estimated to amount to a few hundred”, so writes the anonymous writer of a short biographical memoire drawn up at the request of the Prefecture in 1959, on the occasion of the decision of the municipal council of Crespellano to name a street for Antonino Sartini.

Style

Antonino Sartini finds, in nature and in the ancient gestures of daily rural life, the ideal subjects for his pictorial inspiration^[11], pouring serene and restful images into every landscape, enriched by warm and never moving colors. His landscapes are captured on the edge of the city, especially where the last houses border the fields, trees and waterways, to leave the countryside.^[3] In these places, Sartini immerses himself in the contemplation of the nature that surrounds him and translates the feeling of things and their harmony into painting. And it is precisely the harmony of things that Sartini seeks and finds from his own angle of observation, expressing, with the paintbrush, the feeling and serenity that he captures, with that contemplative, chaste and serene modesty of the one who appreciates the harmony of what is around him and wants to immortalize it and better still celebrate it, communicating it to others. In this regard, Amleto Montevecchi writes: “Sartini’s painting is harmonious: at times robustly sonorous, taking place in songs full of light, sometimes, softly quiet, expressing itself in subdued voices of fleeting flashes. He, who knows how to choose the places of his paintings, prefers the secluded places, and the lonely corners, the distant churches and the country and mountain roads where the sun plays at all hours and leaves the warm and luminous imprint of the passing moment: those who look at his paintings live with he emotionally and breathes, beyond the silent scenes, the vast sky where the spirit sinks into the mystery and feeds on poetry. “^[12]

The psychological and aesthetic attitude of many of his works is of a crepuscular matrix, sweetly vespertine. Sartini’s painting certainly has something of the Macchiaioli style, as well as undergoing the well-known influences of Bertelli (Luigi and Flavio). In fact, Umberto Beseghi (scholar and historian of the art, contemporary of Sartini) writes: “Antonino Sartini has been called a “Bertelliano”. Saying this does not take anything away from him and his art. However, it is also necessary to recognize that he added his own personality to the school of the two great Bolognese painters, his style and that serene goodness that was in his character“^[12]. His way of painting is characterized by light touches, round spots, which give a sense of form, without weighing it down with contours or accentuated masses. In many of his works, in fact, everything appears to be intuited in its essence, as hinted at if not even reconstructed and humanized, through a light, never coldly descriptive image of things, where the viewer remains free to complete it and contemplate it with his own feeling. Many of his paintings testify to this, including “Bucato al sole” from 1930, “Paesaggio” from 1931, owned by the Gallery of Modern Art in Bologna, “Lungo il rio” from 1935, and “Tessitrice” [Weaver] from 1940^[13].

Sartini does not limit himself to painting landscapes, but also portraits. And in the portrait Sartini knows how to grasp that intimate truth that puts the subject out of time: “Portrait of Flavio Bertelli” of 1931, “Nostalgia” of 1935, “Contemplazione” of 1942. About him, Umberto Beseghi (scholar and historian of the art, contemporary of Sartini) wrote in 1956: “There are the landscapes and the figures, which Antonino Sartini knew how to deal with subtle sensitivity, with depth of feeling, with psychological intuition, with that truth that does not deny, […], but he knows how to transfuse in others what he sees and feels “(1956).^[11]

Works^[14]

• Casolare Martignone, around 1930, oil painting 36×27 cm, private collection.
• Ca’ nuova di Sasso Marconi, around 1940, oil painting 33×24 cm, private collection.
• Porto di Rimini, around 1950, oil painting 47×32, private collection.
• Vecchie capanne, 1931, oil painting 47×32 cm, private collection.
• Pini a Villa Meloncello, around 1930, oil painting 40×28 cm, private collection.
• Vacca al pascolo, 1932, oil painting 52×38 cm, private collection.
• Le spigolatrici del mare, around 1950, oil painting 26×18 cm, private collection.
• Canto della primavera, 1931, oil painting 36×28 cm, private collection.
• Donna in riva al fiume, 1946, oil painting 95×50 cm, private collection.
• Una strada a Monteveglio, 1933, oil painting 33×23 cm, private collection.
• Campo in argine, 1941, oil painting 70×56 cm, private collection.
• Una via di Bazzano, 1929, oil painting 46×35 cm, private collection.
• Pollaio all’aria aperta, 1945, oil painting38x27 cm, private collection.
• Case sul poggio, 1942, oil painting 40×28 cm, private collection.
• Il pozzo, 1934, oil painting 40×28 cm, private collection.
• Collagna di Reggio Emilia,1931, oil painting 34×22 cm, private collection.
• Via dell’osservanza, around 1941, oil painting 36×25, private collection.
• Spiagge di Rimini, around 1950, oil painting 39x28cm, private collection.
• Strada di alta montagna, around 1935, oil painting 32×23 cm, private collection.
• Baragazza, 1938, oil painting 44×31 cm, private collection.
• Chiesa di via lame (vista da via del Rondone), 1931, oil painting 55×41 cm, private collection.
• Frutteto in fiore, 1931, oil painting 24×20 cm, private collection.
• Il reno a Marzabotto, 1950,oil painting 33×24 cm, private collection.
• Strada del porto di Rimini, around 1950, oil painting 26×17 cm, private collection.
• Ponte nel bosco, 1945, oil painting 33×23 cm, private collection.
• Case sotto il colle, 1946 oil painting 26×17 cm, private collection.
• L’alberello, 1936, oil painting 26×19 cm, private collection.
• Colli dell’osservanza, oil painting 26×16 cm, private collection.
• Primavera, around 1935, oil painting 31×19 cm, private collection.
• Il casolare celato, 1945, oil painting 35×25 cm, private collection.
• Il prato all’inizio del bosco, 1942, oil painting 35×25 cm, private collection.
• Torretta in via di Ravone, around 1942, oil painting 26×17 cm, private collection.
• Pozzo a Randa del Ravone, 1942, oil painting 25×17 cm, private collection.
• Sponda del Samoggia a Monteveglio, 1952, oil painting 23×16 cm, private collection.
• Salita collinare, 1932, oil painting 23×16 cm, private collection.
• Crespellano sotto la neve, 1953, oil painting 30×22 cm, private collection.
• Chioggia, 1951, oil painting 31×25 cm, private collection.
• Inizio del paese, 1933, oil painting 43×27 cm, private collection.
• Tiola di castello di Serravalle, around 1933, oil painting 25×16 cm, private collection.
• Autunno, 1936, oil painting 27×19 cm, private collection.

Most important exhibitions, after Sartini’s death^[3]

In 1956 from 14 to 28 October, the “Circolo Artistico” offers a selection of 70 works (so the art chronicles write, even if only 44 paintings are listed in the catalog), introduced from an affectionate memory of Umberto Beseghi, president of the club itself. The latter underlines the contribution of ideas and work that the artist brought to the association (especially on the occasion of the exhibition of Flavio Bertelli) and recalls his “gaze full of light“, observing that for him “the landscape and the portrait are a means of pictorial communication between the subject and the observer“. The city press is concerned with the initiative with interest: Marcello Azzolini on “l’Unità” notices in Sartini’s painting, in addition to the well-known Bertellian influences, also the ” influences of Silvestro Lega” that come from the non-secondary lesson of the Macchiaioli and puts in focus “the solid paintbrush-by-paintbrush construction of the landscapes which allows us to recall even, distantly and discreetly the examples of the Impressionists, if not exactly of a Cézanne.” Luciano Bertacchini appears more cautious in “L’Avvenire d’Italia” and resumes the traditional reading of Sartini’s work, emphasizing only “loyalty in a way “and” coherence that is really quite rare“.

The second retrospective is held from 1st to 15th January 1970, at the “Galleria Caldarese”: a new critical text does not appear in the catalog, but the keenest critical judgments expressed over the years on Sartini’s art, from those of Italo Cinti and Hamlet Montevecchi from 1931 to the few post-war reviews. Among the exhibited works there is the Portrait of Flavio Bertelli, the Tessitrice [Weaver] and Nostalgia, as well as a selection of landscape views. In May of the same year, the municipal administration of Crespellano promoted and organized a large exhibition in the hall of the municipal council, full of paintings coming largely from the artist’s family and ordered by G. Guicciardi. Also in this case the critical approach followed is the traditional one aimed at underlining, without shaking, the “mildness”, the “humility”, the “affective warmth” of Sartini’s painting.

In 1989, an exhibition on Antonino Sartini on the centenary of his birth was held at the Galleria Sant’Isaia in Bologna. Luigi Calanca, Mayor of Crespelano from 1975 to 1987, introduced the exhibition with an acute text, which for the first time reported several pages of the young man’s diary, written in 1912, when Sartini ideally addresses himself and full of love to the equally young fiancée, who died prematurely in 1918, and to calling Sartini the poet who loves nature, capturing the most authentic human and artistic essence of the painter.

In 2003, an exhibition of Antonino Sartini’s works was held at Palazzo Stella in Crespellano, curated by art historian Marilena Pasquali, one of the greatest connoisseurs of Sartini’s works^[15].

Between 2009 and 2010 in Bologna, an exhibition entitled “Paessaggi, villaggi, contrade – pittura emiliana tra 800 e 900” [Landscapes, villages, districts – Emilian painting between 800 and 900] was held, curated by Beatrice Buscaroli, at the Carisbo Foundation, at Casa Saraceni. The exhibition included seventy paintings that told the history and transformation of the Bolognese territory through the reproduction of countryside, hills, mountains, farmhouses, streams and cultivated fields that represent the main subjects of the paintings. Among the artists there is of course Antonino Sartini, in addition to other landscape architects such as Luigi Bertelli and others.^[16]

In 2016, some works by Antonino Sartini were exhibited at “Villa delle Rose” in Bologna^[17]. Also in 2016 at the “Galleria Fondantico” in Bologna, the “Secondo salone della pittura bolognese dal 1940 ai giorni nostri” [the Second Bolognese painting salon from 1940 to the present day] was held , where Antonino Sartini is one of the selected painters^[18].

In 2019, at the “Galleria Fondantico” in Bologna, the exhibition “Bologna pittrice. Dipinti dal 1866 al 1976” [Bologna painter. Paintings from 1866 to 1976] was held, where Antonino Sartini is one of the selected painters.^[19]

Curiosity

In the hamlet of Crespellano (municipality of Valsamoggia) there is a street dedicated to Antonino Sartini.^[20]

Bibliography

• Italo Cinti, Alla Galleria d’Arte, in “Il Comune di Bologna”, VIII, n., Bologna, Februay 1931.
• Armando Pelliccioni, Alla Galleria d’Arte, in “il Pavaglione”, Bologna, 17th January 1931.
• Nino Padano, Pittori bolognesi, in “Corriere Padano”, Ferrara, 18th Februay 1931
• Nino Padano, Mostre bolognesi, in “Le arti plastiche”, IX, Milano, 1st Februay 1931
• Amleto Montevecchi, Antonino Sartini, (unidentified magazine), 1931
• Amleto Montevecchi, Arte, in “Vita Nova”, XI, Bologna, November 1932.
• Amleto Montevecchi, La Mostra degli “Amici dell’Arte”, in “Il Comune di Bologna”, XI, November 1932.
• Rezio Buscaroli, Al Circolo della Stampa. Cronache d’arte, in “il Resto del Carlino”, Bologna, 5th october 1932.
• Renzio Buscaroli, Mostra degli “Amatori e Cultori”, in “il Resto del Carlino”, Bologna, 1st June 1933.
• Diska, Antonio Sartini, “Il Telegrafo”, Livorno, 21st September 1933.
• Diska, Mostra d’Arte nel Palazzo Comunale, in “Il Comune di Bologna”, XI, Bologna, June 1933.
• Italo Cinti, Antonino Sartini, in “Il Comune di Bologna”, XI, Bologna, July 1933.
• Italo Cinti, Quattro pittori, in “il Resto del Carlino”, Bologna, 22nd March 1934.
• Italo Cinti, Mostra Busani, Nardi, Sartini, Secchi, in “Il Comune di Bologna”, XII, Bologna, March 1934.
• Rezio Buscaroli, Il paesaggio nella forma pittorica attuale, in “il Resto del Carlino”, Bologna, 15th May 1934.
• Italo Cinti (?), Mostra di pittura al “Circolo Artistico”, in “il Resto del Carlino”, Bologna, 22nd May 1935.
• Italo Cinti (?), II° mostra al Circolo Artistico, “Il Comune di Bologna”, XIII, Bologna, June 1937
• Rezio Buscaroli, La mostra di pittura al Circolo Artistico, in “il Resto del Carlino”, Bologna, 12nd January 1937.
• Rezio Buscaroli, La mostra di pittura al Circolo Artistico, in “il Resto del Carlino”, Bologna, 15th June 1937.
• Corrado Corazza, Mostra collettiva al Circolo “Bologna”, in “L’Avvenire d’Italia”, Bologna, 17th June 1937.
• Corrado Corazza, Mostra di pittura al Circolo artistico “Bologna”, in “L’Avvenire d’Italia”, Bologna, 9th April 1939.
• Corrado Corazza, Guida della IX Mostra interprovinciale d’arte, in “il Resto del Carlino”, Bologna, 9th October 1942.
• Enrico M. Fusco, Antonino Sartini, in “Il Nuovo Monitore” II, n.9 Bologna, 21st May1949.
• Umberto Beseghi, critical introduction to the catalog of Mostra postuma del pittore Antonino Sartini, Bologna, Circolo Artistico, 14-28 october 1956.
• Luber (Luciano Bertacchini), Postuma di Antonino Sartini, in “L’Avvenire d’Italia”, Bologna, 20th october 1956.
• Marcello Azzolini, Antonio Sartini al Circolo Artistico, in “l’Unità”, Bologna, 24th october 1956.
• G. Guicciardi, critical introduction to the catalog of Mostra postuma del pittore Antonino Sartini 1889 – 1954, Bologna, Galleria Caldarese, 1, 15th January 1970.
• G. Guicciardi, L’umiltà genuina di Sartini, in “Il Giornale d’Italia”, Bologna, 17-18 January 1970.
• G. Guicciardi, La mostra del pittore Sartini, in “Cose”, 24th May 1970.
• “Catalogo della Mostra postuma del pittore Antonino Sartini 1889 – 1954 a Crespellano, Palazzo municipale“, printed by “arti grafiche Minarelli”, Bologna, 1970.
• Franco Solmi, Artisti Bolognesi fra ‘800 e ‘900. Una raccolta bolognese. Bologna, Edizione Due Torri, 1985 (with biographical data sheet by Marilena Pasquali).
• Marilena Pasquali, Il circolo Artistico di Bologna 1888-1988, Bologna, Grafis 1988.
• Luigi Calanca, Il centenario della nascita del pittore Antonino Sartini: la mostra, critical introduction to the catalog of “Omaggio a Antonino Sartini”, Bologna, Galleria Sant’Isaia, 21st october – 9th November 1989.
• Sant’Isaia/Sartini. Paesaggi e racconti di vita contadina, in “il Resto del Carlino”, Bologna, 28th October 1989.
• Gli artisti crespellanesi fra ‘800 e ‘900, Editore: Delta grafiche; Crespellano 1995
• Marilena Pasquali, Antonino Sartini, perdersi nella pittura, critical introduction to the catalog, Crespellano, Palazzo Stella, 5-30th June 2003 (with critical biographical itinerary and essential bibliography)
• Marilena Pasquali, Antonino Sartini – Opere 1925/1946, Publisher: TIPART INDUSTRIE GRAFICHE srl, Vignola 2003
• Rubini S., Antonio Sartini 1889-1954. Opere inedite. Edition illustrated, Publisher: ETA (Vignola) 2013.