Lino Dinetto - Untitled

In 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 represent 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.

This work presents an image suspended between synthesis and a desire for form. This means that the subject is essential, iconic, and reduced to the bare minimum, yet this does not prevent the artist from highlighting its shape and volume. The exaltation of form also involves an artificial elongation of proportions, which lends the work an elegant and sinuous linear rhythm. The exaltation of form and its representation through multiple viewpoints that allow for a complete perception are clearly influenced by Cubism. In terms of color, Dinetto still draws on Picasso's painting, with a predominance of cool gray-green tones.

Lino Dinetto was born in Este in 1927. He trained in Venice, but his career took a turning point when he moved to Uruguay. In Montevideo, he worked for five years on frescoes in the Cathedral of San José. It was here that he began his exploration of Cubism. Between 1955 and 1960, he taught at the San Francisco Institute of Fine Arts in Montevideo. In 1959, a solo exhibition was held at the Museum of Modern Art in São Paulo, Brazil. Other important exhibitions were held in Treviso at the Palazzo dei Trecento in 2010, in Este in 2013, and in Vittorio Veneto in 2015.

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