It was only after sustaining an injury to his leg in 1956 that Lorenzato committed himself to full time painting, and settled back into Belo Horizonte where he developed most of his work.


Lorenzato painting reflected everyday life, and his creative process involved long walks around his home and in the countryside, making drawings and sketches that he would later translate to paintings from memory.

“I leave home, pick up a piece of paper and draw on it, then I note down the colours more or less and then, when I have the scale models, I paint.
I have to see the landscape and the things thereon.
If I do not see it, then I am unable to paint” - Lorenzato
Lorenzato’s compositions used a rich palette of self-made pigments to describe his surroundings by reduced geometric forms and richly textured surfaces that were filled with veers into abstraction through the use of handmand tools, usually brushes, combs, and forks.
It was only after sustaining an injury to his leg in 1956 that Lorenzato committed himself to full time painting, and settled back into Belo Horizonte where he developed most of his work.

Lorenzato painting reflected everyday life, and his creative process involved long walks around his home and in the countryside, making drawings and sketches that he would later translate to paintings from memory.
“I leave home, pick up a piece of paper and draw on it, then I note down the colours more or less and then, when I have the scale models, I paint. I have to see the landscape and the things thereon. If I do not see it, then I am unable to paint” - Lorenzato
Lorenzato’s compositions used a rich palette of self-made pigments to describe his surroundings by reduced geometric forms and richly textured surfaces that were filled with veers into abstraction through the use of handmand tools, usually brushes, combs, and forks.
Amadeo Luciano Lorenzato