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MACI - Museum of Contemporary Art of Imperia verified

Imperia, Liguria, Italy closed Visit museumarrow_right_alt

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Josef Albers - Gentle venture
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Alberto Biasi - Polytype 72
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Max Bill - Fourth Black
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Enrico Castellani - Gray surface
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Piero Dorazio - Blue call
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Lucio Fontana - Spatial concept, Waits, 7 cuts
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Lucio Fontana - Spatial, Waiting, Red concept
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Enzo Mari - Structure n. 731
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Marino Marini - Horse and Rider
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Ennio Morlotti - Wild Centaurea
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Carlo Nangeroni - Continuous serial
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Robert Delaunay - Landscape
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Mauro Reggiani - Composition
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Gerhard Richter - Grey
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Victor Vasarely - G.D.4
Josef Albers - Gentle venture
Alberto Biasi - Polytype 72
Max Bill - Fourth Black
Enrico Castellani - Gray surface
Piero Dorazio - Blue call
Lucio Fontana - Spatial concept, Waits, 7 cuts
Lucio Fontana - Spatial, Waiting, Red concept
Enzo Mari - Structure n. 731
Marino Marini - Horse and Rider
Ennio Morlotti - Wild Centaurea
Carlo Nangeroni - Continuous serial
Robert Delaunay - Landscape
Mauro Reggiani - Composition
Gerhard Richter - Grey
Victor Vasarely - G.D.4

Other works on display

Description

In the fifties, after a period of neo-cubist influence, Ennio Morlotti turns to an informal painting, which finds its expressive figure in a balance between naturalism and abstraction. Centaurea Selvatica from 1957 is commonly included in the artist's phase called "abstract naturalism". Attention to nature is combined with the exaltation of the chromatic mixtures, in their physicality. The pure chromatic material becomes the creative principle of visible reality: by means of the brush and the spatula, Morlotti applies high mixtures of color on the canvas, to suggest a total and enveloping immersion in nature. In Centaurea Selvatica the surface of the canvas - composed of a dense aggregation of pasty and dense brushstrokes in dark tones, mainly oriented towards greens and reds - corresponds to the natural environment. Nature becomes primordial, violent, in continuous metamorphosis, made of color, matter and light. The spatiality in the work is suggested by the chromatic mass that occupies a large part of the pictorial surface, however allowing a glimpse of the brighter and less dense underlying layer on the sides.

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