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MACI - Museo Arte Contemporanea di Imperia verified

Imperia, Liguria, IT open Visit museumarrow_right_alt

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Josef Albers - Gentle venture
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Alberto Biasi - Polytypte 72
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Max Bill - Schwarzes viertel
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Enrico Castellani - Grey surface
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Piero Dorazio - Blue call
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Lucio Fontana - Spatial concept, Waits, cuts
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Lucio Fontana - Spatial concept, Waits, Red
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Enzo Mari - Structure number 731
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Marino Marini - Horse and horseman
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Ennio Morlotti - Wild Centaury
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Carlo Nangeroni - Continuous serial
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Robert Delaunay - Landscape
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Mauro Reggiani - Composition
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Gerhard Richter - Grey
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Victor Vasarely - G.D.4
Josef Albers - Gentle venture
Alberto Biasi - Polytypte 72
Max Bill - Schwarzes viertel
Enrico Castellani - Grey surface
Piero Dorazio - Blue call
Lucio Fontana - Spatial concept, Waits, cuts
Lucio Fontana - Spatial concept, Waits, Red
Enzo Mari - Structure number 731
Marino Marini - Horse and horseman
Ennio Morlotti - Wild Centaury
Carlo Nangeroni - Continuous serial
Robert Delaunay - Landscape
Mauro Reggiani - Composition
Gerhard Richter - Grey
Victor Vasarely - G.D.4

Other works on display

Description

Gerhard Richter is considered as one of the greatest living artists, a firm believer in the power of painting still being current in the 21st century. Although the artist throughout his long career has gone from figurative art (portraits, landscapes, cities, mountains, clouds) to the intuition of the importance of photography as a pictorial element, he has always alternated these moments with periods dedicated to abstract painting. “Abstractionism for me is daily life, it’s as normal as walking or breathing” he says. As documented in the artist’s catalogue raisonne, starting from 1966 Richter begins to explore a vast range of grey monochromes, generally entitled “Grey paintings”. This production, which grows substantially in the 1970s, has often been interpreted as a reconfirmation of the artist’s purity. Attracted to the neutrality of colour, Richter gives life to a vast quantity of paintings – different in size, colour tone, degree of visibility and orientation of the brushstroke. “Grey is the epitome of non-statement”, observes Richter, ‘it does not trigger off feelings or associations, it is actually neither visible nor invisible... Like no other color it is suitable for illustrating ‘nothing’”- In other words, grey paint does not narrate, it does not inspire feelings nor associations, or images. It does allude to nothing other than itself, or paradoxically to nothing which grey color has the power to illustrate.

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