He showed an early predisposition for drawing and sensitivity for painting. He rebelled against his father's will enrolling in 1951 at the Brera Academy. The first artist's proofs date back to 1952. When he moved from Mantua to Milan, he started earning his living by drawing adventure stories, which was easy for him, given his figurative talent. In 1956 he moved to Paris where he met the main protagonists of the art scene, such as Jackson Pollock, Alberto Burri, Antoni Tàpies and Serge Poliakoff.
Max Kuatty, Abstract Naturalism, oil on canvas, 1975
From that Parisian experience he developed an interest in a type of painting made up of colour transparencies, where the depth of its surfaces evokes an enchantment of the light that persists. This was followed by a long experience in informal art, up until the late 1970s. His abstract paintings refer to the observation of nature, in particular woods and barks, and direct our vision towards the illusion of wood surfaces, defining an "Abstract Naturalism". A pure and secret painting in its informal and non-figurative abstraction, a repressed gesture, totally linked to the introspective gaze, linked to an inner vision that becomes surface and object.
The great international critic, Pierre Restany, founder of the Nouveau Réalisme in the sixties, created a symbiosis with Kuatty, a fertile exchange that lasted for thirty years. A rare story, between critic and artist, as "a story of alter ego or catalyst, able to focus and crystallize the most profound intuitions" (D'Ars, Milan).
In August 1978, Pierre Restany produced the "Manifeste du Rio Negro du Naturalisme Intégral". Kuatty passed from the abstract naturalism of his paintings of the past, to the integral naturalism of his woods, using vast wooden surfaces peeled from the trunks of Amazonian trees; he participated in many performances in Ferrara, Milan and at the Centre Pompidou in Paris, thus becoming the greatest interpreter of Integral Naturalism.
A new experience in 1990 led him to develop paintings that are slabs or typographical films of daily newspapers. Also in this case, the manipulation takes place in respect of the material, which is maintained in its original nature: the means of communication (the printed paper) and its creation phase (films and plates). (Matter and Memory)
Max Kuatty, Polaretablo, mixed media on canvas, 1994
To the appropriation of the word follows a fertile period, interesting and suggestive; he arrived to the image, and created a classic of modernity. In the nineties he took up the great thread of historical iconography, which he had already introduced in his work since 1970, continuing with the aesthetics of appropriation, which he had pursued in many ways for decades. Thus he perfected a narrative extension of his most famous abstract painting. His new cycle of frescoed paintings, with some memorable figures taken from the history of art, offers a new pictorial wave of extraordinary beauty and immediacy, named by the Critic Tommaso Trini Castelli: I Polaretabli.
Thanks to the Codex Codicum, published on the occasion of the 1st World Summit of Nobel Peace Laureates in 1999, he was commissioned in 2000 to create the portraits of the Nobel Peace Prize winners and the images for the 'Nobel Peace Laureate Organizations'.
In 2006 he held an exhibition at the Galleria S. Carlo in Milan, where he exhibited a new cycle of works, which were part of his research started as a young man and never finished. He called this cycle “Isola Felice”. His exuberant and indomitable creativity shines through, as if to end his pictorial cycle, which has manifested itself in perennial evolution, always able to fascinate and create a true complicity with the viewer.
He worked tirelessly until the last moment, and died in 2011 in Milan.
The reviews of his exhibitions in important Italian and foreign private museums and galleries have been curated by influential figures of international culture; the most indicative museum exhibits as follows: Casa del Mantegna of Mantua; Royal Palace of Milan; Broletto of Como; Art Basel; Expo Bari; Palazzo dei Diamanti in Ferrara; Centre George Pompidou of Paris; Venice Biennale; Palazzo Barberini of Rome; Gallarate Modern Art Museum.
In 2015, the non-profit association called "MAX KUATTY COLLECTIONS ASSOCIATION" was established in Milan, also abbreviated as "Max Kuatty Association"; this was aimed at spreading, enhancing and promoting the artist's works. It is involved in the recording of all his works, in order to create a Reasoned Catalogue.
- Max Kuatty
- Title of artwork
- Senza titolo
- Mixed media
- Hand signed
- Image size
- 40×30 cm
- Sold with frame