Ennio Finzi (1931-2024) - Senza titolo





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Ennio Finzi (1931-2024), Senza titolo, 2000, mixed media with pastel on carton, original edition, 24.5 × 27 cm, Italy, hand signed.
Description from the seller
Ennio Finzi
Rare mixed media pastel on cardboard
White cardboard Pastel and collage
Year 1990
Size 24.5x27 cm
Title Divertimento
Authentic on a photograph of the Master
A work of rare quality and hard to find
Ennio Finzi, a recently deceased artist regarded as a spatialist painter, but as he himself recalls, in 1947 he was only 16 years old and could not be enrolled in the Spatialism movement as Tancredi Parmeggiani (1927-1964) was, who at the 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 decided to fully embrace the most contemporary principles of scientific and technological analysis typical of those years, not exactly as the artists of the Group N who actually used electronics and lighting technology[5], but seeking 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 previous works, focusing on automatism and the combination of rhythms[6], approaching Cinetism[1] more and more.
Ennio Finzi
Rare mixed media pastel on cardboard
White cardboard Pastel and collage
Year 1990
Size 24.5x27 cm
Title Divertimento
Authentic on a photograph of the Master
A work of rare quality and hard to find
Ennio Finzi, a recently deceased artist regarded as a spatialist painter, but as he himself recalls, in 1947 he was only 16 years old and could not be enrolled in the Spatialism movement as Tancredi Parmeggiani (1927-1964) was, who at the 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 decided to fully embrace the most contemporary principles of scientific and technological analysis typical of those years, not exactly as the artists of the Group N who actually used electronics and lighting technology[5], but seeking 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 previous works, focusing on automatism and the combination of rhythms[6], approaching Cinetism[1] more and more.

