The joy of living cycle dates back to 1970 and represents a unitary, concluded cycle of painting in which Bianco uses the tableaux dorés to support a return to figuration. Here the conflicts which had characterized Bianco’s production in those years, seems to give way to a more serene painting where the author finds a sort of satisfaction in using the themes and methods of traditional art forms.

The women of the joy of living cycle, solitary protagonists in the golden prisons of the tableaux, reveal in the softness of their bodies the signs of ancient models, but their gazes turned on the promise of space beyond the grid of the tableau are enigmatically concealed to the spectator, and when the face is shown in full light, it bears the mark of a neurosis, joined with inevitable existential apprehensions.

(G. Belli, A. Marchionne, Remo Bianco, ed. Puntoelinea, Milano, 1987)