Ennio Finzi (1931) - Capricciando 2014






Master’s in culture and arts innovation, with a decade in 20th-21st century Italian art.
€15 |
|---|
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 135088 reviews
Rated Excellent on Trustpilot.
Ennio Finzi, Capricciando 2014, a mixed media drawing using pastel on black card, 30 cm by 50 cm, created in 2014, original edition signed by hand in Italy.
Description from the seller
Ennio Finzi
Rare mixed-media pastel on cardboard
Black cardboard
Pastel and collage
Year 2014
Cm 30x50
Authentic on the Master’s photo
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 and could not be registered in the Spazialismo movement as Tancredi Parmeggiani (1927 - 1964) was, who at that time was twenty years old[1].
From 1960 to 1978, also due to problems related to the difficulty of selling spatialist works in a historical moment that favored other types of research[1], he decides to fully embrace the principles most contemporary of scientific and technological analysis typical of those years, not exactly like the artists of the Gruppo N who actually used electronics and lighting technology[5], but trying to create the same premises with a Non-Painting of an analytical white-and-black type that moved away from the strong chromatisms of previous works, focusing on automatism and the combination of rhythms[6], drawing ever closer to Cinétisme[1].
Ennio Finzi
Rare mixed-media pastel on cardboard
Black cardboard
Pastel and collage
Year 2014
Cm 30x50
Authentic on the Master’s photo
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 and could not be registered in the Spazialismo movement as Tancredi Parmeggiani (1927 - 1964) was, who at that time was twenty years old[1].
From 1960 to 1978, also due to problems related to the difficulty of selling spatialist works in a historical moment that favored other types of research[1], he decides to fully embrace the principles most contemporary of scientific and technological analysis typical of those years, not exactly like the artists of the Gruppo N who actually used electronics and lighting technology[5], but trying to create the same premises with a Non-Painting of an analytical white-and-black type that moved away from the strong chromatisms of previous works, focusing on automatism and the combination of rhythms[6], drawing ever closer to Cinétisme[1].
