Mixed media and collage on light blue paper
Master’s authentication on photograph
Rare work on light blue paper
Ennio Finzi is 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.
His 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 always Tancredi who presented him to the great American collector Peggy Guggenheim. Throughout the fifties, Finzi pursued a spatialist research focused on the use of colour and dystonic and atonal effects, also interpreting the new musical styles of those years from the Schoenbergian atonalism to the “be bop” of African-American jazz. In fact, for Finzi, music has a fundamental value: he recalls that for him the perception of colour is only 50% through sight and 50% through hearing because colour not only has an image but also a sound.
From 1960 to 1978 (also because of problems linked to the difficulty of selling spatialist artworks in a historical period that preferred other types of research) he decided to completely embrace the most contemporary principles of the scientific and technological analysis typical of those years, not like the artists of Group N (who actually used electronics and lighting) but trying to create the same conditions with an analytic black and white “non-painting” that moved away from the previous strong chromatism, focusing on automatism and the combination of rhythms, getting closer to the kinetic art.
Since 1978 Finzi has been rediscovering colour, opening a season that somehow follows the bewildering barrage of images that became predominant in the early eighties. Thus, from the mid-eighties, tired of that intensity, he researched a sort of return to meditative intimate thoughts by combining the black background with the use of colours that resurface and emerge (see the cycle “Nero-Acromatico” and then “Neroiride”, strongly inspired by Luigi Nono’s music, that led him to the series “Grammaticando” and “Flipper” in the nineties, where he tried to organise a pictorial language defined with signs and operations in contrast). However, in all these years Ennio Finzi has been continuously looking for a way to express the very essence of the “idea”, of the sensation, using the pictorial medium as a tool and not wanting to build a style recognisable as painting for painting a priori. To understand Finzi you should not read every single pictorial moment in its own, but consider the entire development of his work over the years, with its inconsistencies and contradictions, glimpsing a hidden underlying theme.
He started exhibiting in 1949 at the Bevilacqua La Masa Foundation in Venice, where in 1956 he held his first solo exhibition. This foundation dedicated an anthological exhibition to him in 1980.
In 1959 and 1999 he participated in the VIII and XIII Rome Quadriennale and in 1986 in the XLII Art Biennale of Venice.
He taught at the Academy of Venice. He lives and works in Venice-Mestre.
- Ennio Finzi
- Titre de l'oeuvre d'art
- senza titolo
- Techniques mixtes
- Bon état
- Taille de l’image
- 23,7×28,2 cm
- Cadre inclus