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MACI - Museo Arte Contemporanea di Imperia verified

Imperia, Liguria, IT closed Visit museumarrow_right_alt

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Josef Albers - Gentle venture
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Alberto Biasi - Polytypte 72
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Max Bill - Schwarzes viertel
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Enrico Castellani - Grey surface
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Piero Dorazio - Blue call
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Lucio Fontana - Spatial concept, Waits, cuts
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Lucio Fontana - Spatial concept, Waits, Red
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Enzo Mari - Structure number 731
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Marino Marini - Horse and horseman
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Ennio Morlotti - Wild Centaury
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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 - Polytypte 72
Max Bill - Schwarzes viertel
Enrico Castellani - Grey surface
Piero Dorazio - Blue call
Lucio Fontana - Spatial concept, Waits, cuts
Lucio Fontana - Spatial concept, Waits, Red
Enzo Mari - Structure number 731
Marino Marini - Horse and horseman
Ennio Morlotti - Wild Centaury
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 1950s, after a period influenced by neo-cubism, Ennio Morlotti moves towards a more informal type of painting, finding his personal style in balance between naturalism and abstractionism. Wild Centaury painted in 1957 is generally placed in the artist’s so-called “abstract naturalism” phase. Adding to his attention to nature is the glorification of chromatic mixtures, in their physicality. Pure chromatic matter becomes a creative principle of visible reality: with his paintbrush and spatula, Morlotti applies high layers of colour mixtures, to suggest a total and embracing immersion into nature. In Wild Centaury the surface of the canvas – made up of a thick group of mellow, dense brush-strokes with dark tones, mainly oriented towards greens and reds - corresponds to a natural environment. Nature becomes primordial, violent, in a continual metamorphosis, made of colour, matter and life. The spatiality of the painting is suggested by a chromatic cluster which occupies most of the painting’s surface, however, allowing from the sides, a glimpse of the underlying layer which is brighter and not as dense.

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