Luigi Veronesi - Construction XI Variation 5

The work is an abstract composition. "Abstract" derives from the Latin term "Abstrahere," meaning 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 pure colors that do not exist in nature, or translating their emotions and instincts into images. Luigi Veronesi's entire research is connected to the abstract avant-garde. His studies and contacts with the Bauhaus movement, particularly Kandinsky, Moholy Nagy, El Lissitzky, and Max Bill, were particularly crucial to his artistic career.

Luigi Veronesi's artistic practice is expressed through rigorous geometry. His reconstruction of sensory reality occurs through a rigorously mechanical process that transforms the artist's perception into cold rationality. Veronesi's abstract art concedes nothing to biomorphism, as in Kandinsky, or to magic, as in Paul Klee, but everything is resolved in terms of pure mechanical construction. For this reason, and particularly for the present work, his main influences are found among the proponents of Swiss and Russian Constructivism, but also in the experiments of the Bauhaus, where the boundary between artistic production and design is very thin. Thus, his painting is configured as a set of clean lines, giving rise to a rational and balanced encounter of forms. These balances are also found in the arrangement of colors and in a technique that avoids painterly effects. The vibrations of life, then, must be sought in the very purity of those forms and colors.

Luigi Veronesi was a Milanese painter, photographer, director, and set designer, born in 1908 and died in 1998. In Milan, in 1932, the Galleria Il Milione hosted his first figurative creations. He subsequently began his personal research in the field of abstract art. He participated in the first collective exhibition of abstract art in Italy, on March 4, 1934, in the studio of the painters Felice Casorati and Enrico Paolucci in Turin. He participated in the
Milan Triennale in 1936. In 1934 he joined the Parisian group Abstraction-Création, became acquainted with the experiences of Swiss Constructivism, and embraced the Bauhaus method: the "lesson" of Wassily Kandinsky would be crucial. He participated in the exhibition Abstract Art Concrete Art at the Palazzo Reale in Milan.

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