The Fifties and Sixties: Renata Rampazzi was born in Turin into an Italian-French family. Thanks to a fervent family environment in which figured a number of artists (the inner circles of which included uncles, the Composer Alberto Bruni Tedeschi and his wife, the Pianist Marisa) she was attracted to painting right from a very early age. She attended High School specializing in art subjects to afterwards complete her university studies in architecture.

The Seventies and Eighties: In those years Turin was, like Rome, the centre of experimentation of the informal movements taking place in the United States and France at the time. Renata Rampazzi was part of the city's cultural life, mixing with some leading figures such as Umberto Mastroianni, Antonio Carena, Adriano Parisot, Piero Ruggeri as well as Marcello Levi, Paolo Fossati, Luigi Carluccio. Her pictures of that period still find figurative inspiration with densely spatula-spread colours flowing over the canvas in broad nervous sweeps. 1973 marks the year of her first major solo exhibition at Verona's "Galleria dello Scudo". In 1974 she was invited for another "solo " at the ____________________________________

International Art Festival at Asolo which was organised with the Maeght Foundation. In 1975, her paintings were exhibited at the Olivetti Centre in Paris. The young Rampazzi however felt the need to undertake an in-depth exploration of her own creative universe and break out of national confines. She entered the Academy of Salzburg, founded by Oskar Kokoscha. Through working alongside Emilio Vedova, she became drawn to abstract expressionism to then be taken under the wing of Chinese Painter Zao-Wou-Ki. With Jean Clerté, her time at Salzburg came to an end and she moved towards the art of Alechinsky and other members of the “CO.BR.A.” group. In 1977, her paintings at Milan's "Galleria Vismara of Contemporary Art" were marked by profound suffering and hurt as well as distinctive expressionist gestural energy. Afterwards her experience with Chinese calligraphy together with the European informal current opened up new horizons which would shape her personal artistic identity. The enigmatic and sensual look became her own personal trademark. In 1977 she was back at the "Galleria dello Scudo" in Verona and won the Bolaffi Award.

The Eighties: In 1985, she won the Bolaffi Award for a second time.

The Nineties – Twenty First Century: After moving with her husband, Director Giorgio Treves, to Rome, where she lives and works today, Renata Rampazzi first set up her atelier in piazza del Biscione and then in via del Governo Vecchio. She now moved on to painting on large canvases and her brush strokes became increasingly sweeping, abounding in colours and transparency. Over these years she first worked using water-colours and greasy pastels. It was then she came in contact with the world of cinema. The renowned Director Luchino Visconti asked for her blue and violet-hued canvases to decorate his sets for Conversation Piece (Gruppo di famiglia in un interno) (1974), works which, on referring to Thomas Mann's novel, he called, "my magic mountains". Margarethe von Trotta became a passionate collector of her art and several of her paintings are part of the sets of Die Rückkehr (1990) and Zeit des Zorns (1993). Her works were also used in the films of Mimmo Calopresti (The Notes of Love) (1998) and Mario Martone (L'Odore del Sangue) (2004). Renata Rampazzi has also worked together with a number of architects and interior and set designers, including Marika Carniti Bollea for whom she painted an 80 metres tulle. ____________________________________

Her paintings were at this time on show in Italy and abroad in a whole series of major exhibitions, fairs and galleries, including the Palazzo dei Diamanti in Ferrara (1984), the Galleria Anna d'Ascanio in Rome, the Petit Palais d'Art Moderne in Geneva (1989), the Battistero (The Baptistry) in Asti (1993). Since 1990 her work has meant spending longer periods in France.

From 2000 to 2010: After a period of bad health, during which the artist's horizons were concentrated on multiple compositions and pictures of small dimensions, in 2005 her works were exhibited at the Palazzo dei Capitani in Ascoli Piceno and in 2006 an important anthological exhibition was dedicated to her at the State Archives in Turin. 2009 was marked by two solo exhibitions at the Galerie Nicolas Deman and at the Italian Cultural Institute in Paris. In 2010 another personal "solo" was put on at Cloister of St. Nicolò in Spoleto as part of the Festival of Two Worlds.

From 2011 to 2020: In 2011 she is invited with the Galleria Marino for a solo exhibition at ArtParis 2011 in the Grand Palais in Paris. In 2011 she has also been

invited to show at the 54th Biennale d’Arte of Venice, Padiglione Italia Regioni, at the Palazzo Venezia in Rome. The same year she is invited at the Premio Vasto, Scuderie di Palazzo Aragona, Vasto, and she shows in a solo exhibition at the Galleria Il Frantoio, Capalbio. In 2013 she is one of the 15 Artists of two generations: years Thirties and Forties at the Banca d’Italia in Rome. The same year there is a personal exhibition at the Espace Culturel of Le Lavandou in France presented the critic Olivier Kaeppelin Director of the Maeght Foundation. In 2015 she shows at the Laboratorio Freudiano of Rome.
In 2017 she is one of SevenArtistsOneShow at the Galleria del Cortile of Rome. In 2018 her installation CRUOR-SANGUE SPARSO DI DONNE is shown at the alla Fondazione Giorgio Cini of Venice, introduced by Claudio Strinati and Dacia Maraini. In 2019 she shows at the Galleria BorghiniArteContemporanea of Rome SCINTILLE. In 2020 her installation CRUOR is exhibited with some paintings of the Eighties and Nineties and 46 oil on canvas maquettes at the Museo Carlo Bilotti - Aranciera di Villa Borghese of Rome.