Ennio Finzi (1931) - Ennio Finzi






Master’s in culture and arts innovation, with a decade in 20th-21st century Italian art.
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Ennio Finzi, original artwork created in 2014, using pastel and mixed media on black cardboard, 33 cm high by 23.5 cm wide, hand-signed, in good condition, of Italian origin.
Description from the seller
Ennio Finzi
Rare mixed-media pastel on cardboard
Black cardboard
Pastel and collage
Year 2012
Dimensions 33 x 35 cm
Authenticity on a photo of the Master
Artwork of rare quality and difficult to find
Ennio Finzi, an artist recently deceased, is considered a spatialist painter, but as he himself recalls, in 1947 he was only 16 years old and could not be enrolled in the Spazialismo movement as Tancredi Parmeggiani (1927 - 1964) was at the time, who was twenty years old[1].
From 1960 to 1978, also due to difficulties in selling spatialist works in a historical moment that favored other types of research[1], he decided to fully embrace the principles most contemporary to the scientific and technological analysis typical of those years, not exactly as the artists of Gruppo N who actually used electronics and lighting technology[5], but trying to create the same premises with a Non-Painting of an analytical black-and-white type that moved away from the strong chromatisms of the past, concentrating on automatism and the combination of rhythms[6], approaching Cinetismo[1] more and more.
Ennio Finzi
Rare mixed-media pastel on cardboard
Black cardboard
Pastel and collage
Year 2012
Dimensions 33 x 35 cm
Authenticity on a photo of the Master
Artwork of rare quality and difficult to find
Ennio Finzi, an artist recently deceased, is considered a spatialist painter, but as he himself recalls, in 1947 he was only 16 years old and could not be enrolled in the Spazialismo movement as Tancredi Parmeggiani (1927 - 1964) was at the time, who was twenty years old[1].
From 1960 to 1978, also due to difficulties in selling spatialist works in a historical moment that favored other types of research[1], he decided to fully embrace the principles most contemporary to the scientific and technological analysis typical of those years, not exactly as the artists of Gruppo N who actually used electronics and lighting technology[5], but trying to create the same premises with a Non-Painting of an analytical black-and-white type that moved away from the strong chromatisms of the past, concentrating on automatism and the combination of rhythms[6], approaching Cinetismo[1] more and more.
