Bruno Munari (1907-1998) - Senza titolo

Marker and pencil on Bruno Munari's paper (Milan 1997-1998) “Untitled”, handwritten signature and dated 1970-1995 at the bottom center. Authentication by the artist on the photograph. Artwork dimensions 30 x 20 cm, with frame 58 x 47 cm. Provenance: private collection, Milan. In overall very good condition, as evidenced by detailed photos. Shipment via national courier with professional packaging.
Bruno Munari (Milan, October 24, 1907 – Milan, September 30, 1998) was an Italian artist, designer, and writer.

Bruno Munari
Compasso d'Oro — Golden Compass Award in 1954
Compasso d'Oro Award in 1955
Compasso d'Oro Award in 1979
Alongside the spatial artist Lucio Fontana, Bruno Munari established himself on the Milanese scene of the fifties and sixties; these are the years of the economic boom, during which the figure of the artist operator-visual emerged—becoming a corporate consultant and actively contributing to Italy's post-war industrial renaissance.
Munari, at a very young age, participated in Futurism, from which he distanced himself with a sense of lightness and humor, inventing the aircraft (1930), the first mobile in art history, and the useless machines (1933). In 1948, he founded the MAC (Movimento Arte Concreta) together with Gillo Dorfles, Gianni Monnet, and Atanasio Soldati. This movement acts as a coalition of Italian abstractist ideas, proposing a synthesis of the arts capable of combining traditional painting with new communication tools and demonstrating to industrialists and artists the possibility of convergence between art and technology. In 1947, he created Concavo-convesso, one of the earliest installations in art history, almost contemporary, though earlier, than the black environment presented by Lucio Fontana in 1949 at the Galleria Naviglio in Milan. This is clear evidence that the issue of art becoming environment, in which the viewer is engaged not only mentally but in a multi-sensory way, has now matured.
In 1950 he created projected painting through abstract compositions enclosed between the glass plates of slides and split light using the Polaroid filter, producing in 1952 polarized painting, which he presented at the MoMA in 1954 with the exhibition Munari's Slides. He is considered one of the protagonists of programmed and kinetic art, but he eludes any definition or cataloging due to the multiplicity of his activities and his great, intense creativity, with refined art.