He was born in Florence in 1926

 

Being one of the subscribers of the Nuclear Movement 1957, he exhibits at the Nuclear Art show in the San Fedele Gallery in Milan, the city to which he had transferred in the meantime.
In 1958 exhibits at the Iris Clert Gallery in Paris with Michel Tapiè.
In 1960 Franco Russoli presents in catalogue his first personalshow at the Milione Gallery in Milan.

 

 

Dating back to that year is the adhesion of the group "Continuità (Continuity)" with Fontana, Dorazio, Dangelo, Novelli, Perilli, Arnaldo and Giò Pomodoro, Tancredi and Turcato, with whom he exhibited in Italy and abroad (New York 1961, San Francisco 1961, Paris 1961, Pittsburgh 1961, Bochum 1962, Trier 1963, Paris 1963).

 

Bemporad developed the theme, already proposed by Capogrossi, of the repeatability of the equally infinite variation of the sign. The new aspect of his research, explainable by the previous experience of the painting of material. It is the 'objectivity' of the sign, free of any symbolic implication, valid only in the textuality of its own evidence of phenomenalism.
Giulio Carlo Argan, 1961

 

 

 

His paintings do not present a pleasant formal and
chromatic play, but almost a figurative symbol of a continual transformation from inert to alive, from absolutely immobile (the "neutral sign" says
Tapiè) in the variable and transient open. Franco Russoli, 1960

 

 

 

Bemporad is severe and rough to the point of the obsession of an aggressive rhythm: the idea of "continuity" does not allow for digression, it is aimed at, besides rhythm, at colour full of autonomous and incredible expression. Guido Ballo, 1962

 

 

 

We know how for Bemporad, art was something that implicated the global interpretation of the work, and as he for this considered himself as a spectator of the world around him. Here is why the result of his extraordinary canvases do not exclusively belong to his time and may be defined in every effect a contemporary product. Perhaps, as the artist maintained, because the mind is "unique and always the same". [...]
Elisabetta Bucciarelli, 2005

Participates in 1966 in the 33rd Venice Biennal