Luciano Bartolini - Trees

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.

Luciano Bartolini's style is based on several themes that can be found throughout much of his work. Aesthetically and conceptually, his desire to connect with historical Art Informalism is evident, with a categorical rejection of any figurative element, whether geometric or biomorphic. Bartolini's reference to Art Informalism, however, is characterized by a distinctive gestural quality that differs from the material and exaggerated nature of the movement's pioneers. Bartolini's Art Informalism is calligraphic, composed of small interventions on the canvas. The surface is marked by an elegant graphic style, reminiscent of the decorativism of the fin-de-siècle Viennese Secession. Bartolini's graphic and calligraphic style, beyond this decorative quality of his work, is also linked to his numerous travels to the Far East, which undoubtedly influenced him toward a minimalist and refined aesthetic. Another element to consider is the connection with new technologies and the electromorphism that characterized much of the Italian avant-garde in the second half of the 20th century, and which finds significant parallels in Bartolini's traces and signs. In the case of the "Trees" series from 1988, the signs are always organized along a vertical axis.

Luciano Bartolini (1948-1994) was an artist originally from Fiesole. He was primarily self-taught, and his interests and aesthetic concepts were shaped by his linguistic studies and numerous travels to the East. His first works date back to the 1970s and are characterized by the use of unusual supports, such as brown paper and tissues, which would always remain his favorite materials. His artistic language is divided between an informal calligraphic style and the presentation of paper materials in regular patterns.

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