Mixed media and collage on black cardboard
35 x 50 cm.
Artist’s authentication on photograph.
Ennio Finzi is unofficially considered the last living spatialist painter and, as he himself remembers, in 1951 he was only 16 years old and could not be enrolled in the pictorial movement of Spatialism as Tancredi Parmeggiani (1931 - 1964) was, who at the time was twenty years old. The friendship and artistic sharing with the great painter Tancredi, who was also celebrated by important critical writings and exhibitions, undoubtedly led him to enter into the circle of some of the greatest exponents of painting and culture of the Fifties and Sixties like Giuseppe Capogrossi, Ettore Sottsass, Umbro Apollonio and to work in close conjunction with the main Venetian masters of that movement, as for example Virgilio Guidi Riccardo Licata or Emilio Vedova; it was still Tancredi who presented him to the great American collector Peggy Guggenheim. Throughout the Fifties, he pursued a fundamentalist research focused on the use of colour and dystonic and atonal effects, also interpreting the new musical currents of those years from the Schoembergian atonalism to the ‘be bop’ of African American jazz. In fact, for Finzi Music has a fundamental value because he himself remembers that for him the perception of colour occurs only at 50% through sight and for the other 50% through hearing because the colour has not only an image but also a sound. From 1960 to 1978, for problems related to the difficulty of selling spatial works in a historical moment that favoured also other types of research, he decided to completely commit to the most contemporary principles of scientific and technological analysis typical of those years - certainly not as the N Group artists who actually used electronics and lighting - but trying to create the same assumptions with a black-and-white analytical Non-Painting that moved away from the previous strong chromaticisms, by focusing on the automatism and the combination of rhythms approaching more and more to the Cinetism. Since 1978 Finzi rediscovers colour by opening a season that somehow follows the dazzling bombardment of images that in the early Eighty became predominant, so that from the mid Eighty, tired of that intensity, he will seek a sort of return to meditative interiority by joining the black field a use of colour to resurface, for emergence - see the cycle of "Nero-Acromatico" then "Neroiride", strongly inspired by the music of Luigi Nono that will lead him in the Nineties to the series "Grammaticando" and then "Flipper", in which he will try to organize a pictorial language codified by contrasting signs and operations. In any case, Ennio Finzi has continually searched for a way to express the very essence of the "idea", of the sensation using the pictorial medium as an instrument and not wanting to build a recognizable style as painting for painting. In order to understand Finzi, it is not necessary to read every single pictorial moment in its own right but to consider the entire course of its work over the years, with its inconsistencies and contradictions, glimpsing an underlying thread.
He started exhibiting in 1949 at the Bevilacqua La Masa Foundation in Venice, where in 1956 he held his first solo exhibition, a foundation that in 1980 dedicated an anthology to him.
In 1959 and 1999 he participated in the VIII and XIII Quadrennial of Rome and in 1986 at the XLII Art Biennale of Venice.
|Lid sinds:||27 mei 2016|
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