Alfredo Di Giovanni - Blue and Frost Stump

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.

Alfredo Di Giovanni's informal art develops through a perceptive exercise. The artist begins by acquiring sensory data and reworks it according to his highly personal perception. Thus, the representation of the world almost definitively loses all contact with phenomenal reality, translating into a pure transposition of matter and gesture. Di Giovanni, in effect, seeks to capture the impression of the world he senses, but this leads him to completely disintegrate form and translate his perception directly into pictorial gesture. In this painting, the artist is able to create a chromatic material that seems alive, dynamic, and constantly evolving. In the intensity of colors that merge into a living organism, existence pulsates in bright, sudden flashes.

Alfredo Bovio Di Giovanni (Fontana Liri, 1907 – Naples, 1995) moved with his family to Ercolano in 1920, after spending his childhood first in Piedmont and then in Irpinia. At a young age, he began traveling around Europe, supporting himself with a variety of jobs to study the major artistic movements of the time. In 1935, he volunteered in Spain during the Spanish Civil War. Returning to Italy with the outbreak of World War II, he soon left for Germany in the vain hope of finding his brother, who was being held in a concentration camp. In 1948, he returned permanently to Italy, to Milan, and in 1954, he settled in Naples, specifically in Portici, where he shared an attic studio with his friend Carlo Montarsolo. From 1954 to 1985 he devoted himself entirely to painting, exhibiting extensively until his wife Ida's illness and subsequent death (two years later) interrupted his career. He continued to paint, however, until his final days.

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