"Painter" for the sake of painting and "life painter" for the sake of life, Bernardino Palazzi was more than a worldly, pleasure-seeker and bourgeois artist on the payroll of rich private customers satisfied with a blaming commitment. Born in Nuoro and soon settled on "the Continent" (the way Sardinians often call the Italian Peninsula), the fascinated guy who walked around the Barbagia region with his peer Giovanni Ciusa Romagna was going to be the perfect interpreter of a carefree and sophisticated joie de vivre, exalted above all by the representation of women, their faces and their – naked and dressed – bodies. A well-read traveler in touch with the most lively intellectual circles all over Italy and Europe (where he will frequently exhibit his works too) but strengthened by a not rescinded bound with Sardinia, Palazzi is probably the only one, among all the artists from the same region, showing explicitly and in a modern way his "Matissian" taste of art, seen as a preferred gateway to pleasure and to a pacific digression, sometimes fictional too. After a first demanding monograph published by ILISSO in 1988, a remarkable retrospective at a regional level will be dedicated to the artist between November 2015 and February 2016, with an analogous set-up at the MAN Museum in Nuoro and at the headquarters of Fondazione Sardegna in Sassari and in Cagliari, occasion on which some unedited and private drawings have been exhibited for the first time, together with some pictures directly from the painter's personal archive. The Cattedrale di Santa Maria della Neve in Nuoro hosts two of his big sacred-themed paintings (Deposizione and Cena in Emmaus).