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PITTURA PITTURA

Works from 1970s




The show “iononrappresentonullaiodipingo”, held in my gallery in 1973, was perhaps the first in which was revealed the kind of thinking about painting that today is known as “Analytical Painting”, and that then also had the names of “New Painting” or “Pittura pittura”. To question oneself if painting still had a sense in a period of great experimentation, triumphant Conceptualism, and a struggle against an art system that saw in painting – and, as a consequence, in the “picture” – the symbol of possible commercialisation of art, was the defining moment for a group of artists who instinctively, sentimentally, and rationally did not want to give up this tool simply for ideological reasons.
Under this “banner” were grouped various artists, with different first-hand experiences, but all agreed on inquiring into the reasons for painting in a historical period in which it was being strongly questioned as a tool for contemporaneity. As a result, the artists who in that decade – the 1970s – have been identified as being “analytical” cannot be considered a part of any genuine ideological movement – as in the case, for example, of the French group BPMT or Support/Surface – but, at the most, an ideal trend, grouped together under the problematic “cover” of the concept of “painting” as a tool and an end. However, the questioning of painting tout court, the Manichean effects of which can still be seen in Italy today, allowed the grouping together of diverse artists who at least had in common the basic idea that this undertaking was still vital and proactive: this explains the presence of very different artists in the same show, the varieties of Italian painterly expressions – some of which can be appreciated and others rejected, but that all together made up a recognised “trend” -, and the controversies of then and now. What must be considered today, though, is the historical aspect of this trend, with all its possible errors and ideological deviations: in fact, an excess of conceptual “purity” risks cancelling the memory of it in a sterile game of character assassination.

 

Giorgio Griffa
Linee orizzontali 1975
acrylic on linen
118 x 163 cm

Claudio Verna
Pittura 1976
oil on canvas
100 x 100 cm

Rodolfo Aricò
Prospettiva umana 1971
acrylic on canvas
80 x 100 cm

 

 

 

Rodolfo Aricò
Struttura 1967
acrylic on canvas
234 x 100 cm

Rodolfo Aricò
Dittico 1972
acrylic on canvas
30 x 80 cm

Giorgio Griffa
Segni orizzontali 1973
acrylic on linen
179 x 147 cm

 

 

 

Claudio Verna
Grande segnale 1974
acrylic on canvas
140 x 180 cm

Claudio Verna
Senza titolo 1978
oil on canvas
30 x 40 cm

 

 

 

Rodolfo Aricò
Spazio dentro A 1967
mixed technique on canvas
113 x 142 cm

Rodolfo Aricò
Spazio dentro B 1967
mixed technique on canvas
113 x 142 cm

 

 

 

Rodolfo Aricò
Scatola 1972
acrylic on canvas
85 x 120 cm

 

 

 

Carlo Battaglia
Disegno 28/11/1967 1967
pastel on paper
54 x 72,5 cm

 

 

 

Carlo Battaglia
Visionario per F & S 1969
oil on canvas
190 x 140 x 2,5 cm

 

 

 

Carlo Battaglia
Scoto 1973
egg-tempera and oil on canvas
50,5 x 200 x 2 cm

 

 

 

Giorgio Griffa
Linee orizzontali 1975
acrylic on linen
116 x 183 cm

 

 

 

Elio Marchegiani
Grammature di colore 1974
painting on plaster on wood
84 x 124 cm

 

 

 

Elio Marchegiani
Grammature di colore 1973
painting on plaster on wood
53 x 53 cm

 

 

 

Elio Marchegiani
La luna 1980
mixed tecnique on wood and plaster
72 x 72 cm

 

 

 

Claudio Verna
A 183 1973
acrylic on two canvases
70 x 140 cm

 

 

 

Claudio Verna
Senza titolo 1977
pencil on paper
70 x 100 cm

 

 

 

Riccardo Guarneri
S.T. (luci gialle con linee) 1973
pencil on paper
49 x 34 cm

 

 

 

Riccardo Guarneri
S.T. (strisce con rettangoli) 1973
pencil on paper
49 x 34 cm

 

 

 

Riccardo Guarneri
Spazi orizzontali 1974
oil and pencil on canvas
70 x 70 cm

 

 

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