Antonio Pedretti - The Amazon is Blue

The work draws on an Informal aesthetic language. The devastation wrought by the Second World War 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.

Antonio Pedretti is a naturalist, usually drawn to his Lombard landscape, but who, as in this case, also indulges in more exotic forays. The landscape interpreted by Pedretti is recontextualized within a contemporary, material, and gestural sensibility. In Pedretti's paintings and graphic works, the image of nature, the phenomenal world, is translated into an informal composition, yet the painter leaves scattered clues to understanding the work's meaning. Thus, a body of water becomes textured paint applied with a palette knife, and blades of grass become marks on the canvas or dripping paint. In conclusion, Pedretti has found a new and highly personal formula for interpreting nature, which, while using objects drawn from tangible reality, recontextualizes them in a composition with an informal aesthetic. In this lithograph, the gestural nature and expressive power of color prevail.

Antonio Pedretti was born in Gavirate in 1950. His artistic career began at the age of sixteen with an exhibition at the Ca' Vegia gallery in Varese. His artistic language is tied to his birthplace, Lake Gavirate, whose landscapes are a recurring subject in his work. Gifted with great technical skill in palette knife painting and inspired by a remarkable poetic sensibility, he depicts aquatic and stagnant landscapes as if they were compositions of informal art.

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