Alberto Sartoris - The Wall

The work draws on an Informal aesthetic language. The devastation wrought by World War II left a profound mark on Western civilization, which in the visual arts also resulted in an inability to communicate. For some artists, this challenge led to a complete rejection of any visual language, resulting in the birth of Informal Art. The various Informal movements are certainly connected to American Abstract Expressionism, especially with regard to the gestural component, but they go further in their rejection of any figurative element, even geometric. Their research focuses instead on the material from which their works are composed.

In this painting, Alberto Sartoris has already fully embraced an Informal aesthetic. The composition of this work, in fact, seems to set aside issues of form in favor of those concerning gesture and material. And it is the artist's gestures in particular that emerge in this painting, where the thick, structural brushstrokes, combined with the thinner ones interacting in the foreground, suggest an instinctive approach to Action Painting. But Sartoris's action goes even further, relying on no compositional reference other than his own gesture.

Alberto Sartoris was born in Turin in 1901 and died in Pompaples in 1998. He was a renowned architect and painter. He trained in Geneva, Switzerland, where he moved at an early age. Among the key milestones in his career was his joining Futurism in 1920. In 1928, together with Le Corbusier, he founded the CIAM (Congrès Internationaux d'Architecture Moderne). He was a designer, critic, and teacher. He was a founding member of the "Athenaeum" school of architecture in Lausanne in 1945. From 1949 to 1953, together with Fiamma Vigo, he edited the magazine "Numero, Arte e Letteratura" in Florence, which was instrumental in disseminating the rationalist and internationalist movement in Italy.

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