{"product_id":"dedalo-montali-senza-titolo","title":"Dedalo Montali - Untitled","description":"\u003cp\u003eIn the history of art, a clear distinction can often be made between figurative and abstract stylistic movements. However, when an artist's goal is to depict an object that resonates with phenomenal reality but is also charged with hidden and symbolic meaning, this boundary can become blurred. Symbolism and Expressionism are emblematic stylistic movements in their conceptual interpretation of reality, with an iconic rendering of images and a symbolic interpretation in the use of color. In Dedalo Montali's paintings, abstract and figurative elements merge into a single, surreal dimension without any sort of continuity.\u003c\/p\u003e\n\n\n \u003cp\u003eThe work demonstrates Dedalo Montali's extraordinary creative quality and his distinctive style, even in an extremely concise composition. The formal means used to delineate the subjects are minimal: a simple two-tone alternation between black and white. In Montali's artistic vision, the synthesis of subjects is fundamental in order to extract their true essence—that is, what, beyond the phenomenal data, we know or want to know about what we see before us. This is why it is important for this artist to recapture the spontaneity of primitive art or children's drawing. These are two instinctive attitudes that, in representation, go straight to the true essence of things and also hark back to post-Cubist Picasso. It is clear that a strong primitive aesthetic takes shape in this work. However, Dedalo Montali's gesture is free and loose, contemporary, and with just a few strokes he manages to imbue his figures and the space in which they move with a strong personality.\u003c\/p\u003e\n\n\n \u003cp\u003eDedalo Montali (Cagliari, 1909 – Rodello, 2001), painter. Before he turned twenty, he moved to Milan, where he trained at the Brera Academy and frequented the Galleria del Milione. In 1931, he held his first major solo exhibition in Cagliari. He established stimulating relationships with Quasimodo, Delogu, and in Rome with Bragaglia. From 1934 to 1936, he returned to Milan. After the war, he taught in Tuscany and founded a newspaper, which featured many young artists, including Enzo Fabiani.\u003cbr\u003e\n In 1952, he worked in Biot, France, where he began the \"Crucifixion Cycle,\" which took him ten years to complete. In 1964, Canon Mario Battaglino, parish priest of Rodello, promoted an experimental seminar on modern religious art in response to the resounding address that Paul VI, during the Second Vatican Council, had addressed to artists, inviting them to resume dialogue with the Church on the subject of religious art.\u003c\/p\u003e","brand":"Billotti Gianfranco","offers":[{"title":"Default Title","offer_id":56218532446594,"sku":"GBIL001","price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Dedalo-MONTALI-olio-su-tela-1982.jpg?v=1768473957","url":"https:\/\/cjfh11-ee.myshopify.com\/en\/products\/dedalo-montali-senza-titolo","provider":"Venderequadri","version":"1.0","type":"link"}