All art is contemporary…Episode #6
11 January 2021
ALL ART IS CONTEMPORARY EPISODE #6
“All the nuances of abstraction”.
From impressionism to abstract expressionism, from geometric abstract art to informal, the abstract research was born from the artists’ choice to deny the representation of reality and exalt their own search through shapes, lines and colors.
We start in imbalance between abstract and figurative with the painting of Nicolaj Diulgheroff, who – with Aeropittura of 1930 – works on the intersection of lines, planes and spheres and introduces us to abstraction of geometric features. The artist, of Bulgarian origin, graduated in architecture in Turin, where he was part of the futuristic movement of the city.
On the wake between abstraction and figuration, do we find Mario Sironi, who replaces the powerful constructive energy of the figurative period by a shattering of the shapes and a loosening of the composition syntax. The work is Composizione, of 1950 approx. – oil on canvas panel – which turns the figures into illusory bas-reliefs engraved in a stone slab.
Giuseppe Capogrossi’s work, Superficie G 78, dates to seven years later, i.e. 1957. By gradually abandoning figuration, the artist lands to a rigorous personal abstract art, characterized by a sole shape-sign that – conjugated in infinite variations – ends up building an unusual space of representation.
On the other hand, Emilio Vedova, one of the most significant representatives of the Italian informal painting, subtracts himself to figurative, but also to the geometries. By Senza titolo of 1961, a precious 22.4 x 31.8 cm work on paper, the artist shows us the clear strength of the pictorial gesture that – through the dynamism of the sign and the contrasted chromatic tissue – lets arise the overflowing vital tension.
Finally Giorgio Griffa, with work Obliquo of 1973, close to the movements of Minimal Art and of “new abstraction”, overcomes the residual irrationalism of abstract expressionism with his large-sized rough canvasses, marked and traversed by thin lines of color. Poetic and rarefied, the artist manages to touch us intimately by his sign.
Painting must seize this relationship that includes the need to identify with things as well as the need for abstraction.
In the image, on the top Left /hand: Giuseppe Capogrossi, Superficie G 78 (Surface G 78), 1957, gouache on paper cm 50 x 34, courtesy of ML Fine Art – Matteo Lampertico (Milan; London). Followed by: Giorgio Griffa, Obliquo (Oblique), 1973, acrylic on canvas, cm 120 x 120, courtesy of Glenda Cinquegrana Art Consulting (Milan). Followed by: Nicolaj Diulgheroff, Aeropittura (Aeropainting) 1930, oil on canvas, cm 100 x 80, courtesy of Galleria Umberto Benappi (Turin).
Below, on the LH side: Mario Sironi, Composizione (Composition) 1950 approx., oil on canvas panel, cm 50 x 60, courtesy of 800/900 ArtStudio (Livorno; Lucca). Followed by: Emilio Vedova, Senza titolo (Untitled) 1961, mixed technique on paper, cm 22.4 x 31.8, courtesy of Galleria dello Scudo (Verona).