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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

Josef Albers is among the fathers of an analytic and concretist vision of painting, by now permanently freed from its mimetic data. In the 1930s Albers and his wife Anni are called on to teach at Black Mountain College, an experimental school which intended to continue the ideals of Bauhaus in the United States. Albers is a fervent supporter of abstract art as an essential function of the human spirit: art deals with the knowledge and application of the fundamental laws of shape with an acute attention to light as color. The two works on show here, Gentle Venture from 1957 and Blue Mirage from 1959 are part of the “Study for Homage to the Square”. The series, to which Albers dedicates most of his artistic career (from 1950 to 1976) collects studies dedicated to the shape of squares, that is squares of pure colours placed one inside the other. The first is a “sweet speculation” based on - starting from the centre - the combination of grey tones and different types of yellow, while the second examines the relationship between blue and green. The medium and material used are made explicit in each of his works, as a way of underlining the fact that every aspect of pictorial language has sense and value, and that everything comes to life from color. Albers applies the paint to the Masonite directly from the tube, then with a spatula makes the painting surface homogeneous and flat. It is the interaction of colours which Albers chooses with extreme care based on the effects of transparency, intensity, warmth and depth that they produce, to determine their shape. In this way Albers proclaims, not only repetition as a means of experimentation and research of the shape, but also the autonomy of the colour and of the pictorial language itself.

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