Paola Barlassina (born in Milan, Italy) graduated from the Academy of Fine Arts of Brera High School (Accademia di Belle Arti di Brera) in 1973, under the guidance of esteemed teachers like De Filippi, Mariani and Cottini. She pursues the artistic activity joining the painter Giovanni Guidolini, refining the oil painting technique. In this phase of training she learns and masters the most various creativity techniques: like trompe l'oeil, illustration, decoration and commissioned portraiture. Knowing well those that are the rules of art, she progressively develops a high mastery in drawing (fundamental element of art, too often forgotten) and of those technical methods belonging to figurative art.

During this professional and interior development process and growth, the artist adheres to some artistic manifestations, achieving very good results, like the case of the Excellence Award obtained in September 20th 1970 at ALMA (Limbiate Association of Artistic Manifestations - Associazione Limbiate Manifestazioni Artistiche); Barlassina also takes part in extemporary exhibitions like "Beyond the door: eye tricks" (Oltre la porta: inganni dell'occhio) (Rozzano 1996), collective exhibition of 23 women artists, masters of the trompe l'oeil technique, where the meeting of a couple of young painters will give birth to a future involving and stimulating fellowship.

In this way Paola Barlassina becomes a complete artist, able to successfully draw and paint on every support: canvas, glass, fabric, ceramic, wood, even realizing some etched engravings. In winter 2010, the first change matures in her: the artist warily approaches and experiments the field of non-representational painting, emblematic in this sense is Homage to Antonello (Omaggio ad Antonello) [Antonello da Messina, TN], work in which, even if the definitive change is already delineated, we register a shy compenetration between tradition and innovation. Of relevant importance is the crucial encounter with Gustavo Bonora, who obtains a determinant influence on the conclusive turning point to the informal, which Barlassina warmly embraces both in tactile – beads, sand, wool threads and stones are a constant in her works – and pictorial sense.

In spring 2011, the first personal exhibition at "exfabbricadellebambole" receives great acclaim from audiences and critics alike. The exhibition underlines how the works of a Barlassina, now freed by the golden chains of pictorial schemes, are the fruit of an intimist, emotional, reasoned and never violent representation. Each painting expresses visual sensations narrating and revealing all the poetry of the artist's interior path.

Her approach to art is wise, clever and reasoned: paint and matter techniques coexist in harmony on the support, giving life to oeuvres of high aesthetic sense and imbued with a strong musical flow: wool threads and strokes of color really seem like they're holding each other in an harmonic dance.
In September 2011 Paola Barlassina confirms her talent being included in the collective exhibition Art in tarots (L'arte nei tarocchi), wherein she successfully displays two works: The Hermit and The Empress. The latter, of particular interest, shows a return to figurative by inserting the face of the Annunciation by Antonello Da Messina, this time not painted but photocopied; thus Barlassina doesn't go back to drawing directly, but she revises it once more. We still can't state if this is a new and evolved version of Homage to Antonello, or another experimentation, it is sure that the inspiring muse of an entire life appears once again playing at best the role that the artist assigned her: to reign, with that lovely and authoritative look, over us all "subjects" observers.