Aldo Gentilini - Torment of a Painter

The work is an abstract composition. "Abstract" derives from the Latin term "abstrahere," which means to extract or draw out. The process of abstraction, in fact, consists of eliminating the particular and individual aspects of an object to derive a universal concept. From Kandinsky to Mondrian, from Pollock to Mirò, many painters have pushed the process of abstraction to the limit in their works, paradoxically creating pure forms and colors that do not exist in nature, or translating their emotions and instincts into images.

Aldo Gentilini's pictorial language aims to transfigure phenomenal reality into a system of pure lines and colors. Lines, in particular, dictate the compositional rhythm of the work, with their broken, mixtilinear progression. In this way, they leave a clue to understanding the work, a residual connection with the sensory world, and at the same time, divide the surface of the painting into zones. These zones are covered by solid color and bright, contrasting hues. In this particular work, there is a vestige of figuration, but everything is always carried out in a basic, instinctive manner by a deliberately coarse black line. Regarding the palette, Gentilini here forgoes his usual acid, contrasting colors, opting for a grayscale verging on monochrome, yet no less expressive.

Aldo Gentilini was born in Genoa in 1912 and passed away in Volpeglino in 1982. Self-taught, he took several philosophy courses and, for a time, lived in a monastery. His life was always one of isolation. He was a great admirer of Saint Francis and, conversely, an opponent of the art market. For this reason, he sold his works for very little money. He exhibited in numerous group and solo shows in Italy, France, Belgium, the Netherlands, Spain, Canada, America, Australia, Germany, and Switzerland.

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