History Of the Italian art Of the '900

Extracted from:

Giorgio Di Genova

"History Of the Italian art Of the '900.

Generation years thirty"

Edizioni Bora, pp.116-117 and p.634 (fig.190 and 1187), vol.5

pp.116-117

... To the second horn [or, of the informal Materico,n.d.r.] they belong, instead is the abruzzese Patrician Mercuries, that on the push of the tests materiche doesn't miss to peer at toward Morlotti, for then to return to the tall pastas, not always settled debitante (32), both for a brief period the Florentine Charles Frittelli (S.T, Painting n. 2. 1960), before returning to busy subjects and works collateral abstract-expressionists to the ways of stylize of Vinicio Bere you (33), is the campanis Luigi Malice and Luca Monaco, as well as the ligure Raymond Sirotti, the varesino Sergio Piccaluga and the romanoClaudio Olivieri.

Malice veers toward the informal one after one period of painting expressionist, whose echis are still warned in mixed techniques of the '64 (Fragments, After the storm), where nevertheless the approach and the juxtaposition of the "fragments" chromatic, spread out on the surface with the spatula, they maintain a memory of the scannings neocubiste, better available in Landscape calabro of the '63, of evident tangenzialità costruttivista. The decantazione of the color-subject he starts to specify since the following year, when the Neapolitan in Landscape and Complimentary to Kandinsky it clears the palette, the tones making airier and transparent, in the first case reduced to the opposition of celestial (sky) and of rose with red heart (earth). To follow is Nucleus of the '66, everything jousted on zones fragmented of yellows with intrusions of celestial, blue splinters, white, color brick and moments of unmade handwriting in black. Tendency costruttivista and lyric abandonment alternate him, sometimes entering friction for expressionistic regurgitations resolved in accumulation of chromatic tassellature-rubble (Landscape, 1965), atmospheric sommovimenti now (Landscape, 1965) and now airplanes (Mass in moviniento, 1966), or concentrations implosive of color-subject (Synthesis 4, 1966; Tensions 2, 1967), all results in which you/they amalgamate two values of the informal one, what the Abstraction lyrique and the expressionism astratto,all'epoca important point of reference for many young people painters.

pag.634

And if within the new materials of the sculpture we still meet Mazzucchelli, that with his inflatable, also settled and colored, it invades spaces and monuments of the past (44), others on such slope continue experiences, and I think about MALICE, which before devoting himself/herself/themselves to his pictorial "informal evocations" (45), in the eighties continuous to realize some estroflessionis in plastic ciré on woods shaped with dynamics that distinguish him/it from the picture-object of Castellani and Bonalumi, towards which nevertheless is undeniable has some debt.

Note 45