Manlio Bacosi - Untitled

The work has a marked expressionist vocation, which tends to emphasize the expression of emotions. Expressionist art seeks to proclaim its moods to the world and flaunt them with passion. Formally, this translates into a summary rendering of the figures, through a very nervous and animated line, as well as the use of a violent color palette. These characteristics are found in the historical avant-garde movements of expressionism: Fauvism and the Die Brücke movement in Germany. In the case of Manlio Bacosi, his expressionism leads to a very accentuated synthesis of the subject, but conducted in a minimalist stylistic register.
We can clearly see this in his interpretation of a portrait, in which the physiognomic element almost completely disappears, leaving room for a set of signs with a high symbolic value.

In this figure by Manlio Bacosi, we can appreciate how the artist, by distancing himself from the landscape, definitively abandons any connection with sensory reality to create a complex representation, determined entirely by the artist's subjectivity. Although Bacosi leaves the viewer with some clues to help them understand the image, even including a few figurative elements, albeit highly synthesized ones (the eye and the mouth), the rest of the subject is constructed through a system of pictorial signs and gestures, always marked by Bacosi's typical minimalism. The figure, then, becomes powerfully iconic, laden with symbols and enigmatic messages that are not always comprehensible, as is typical of the complexity of human nature.

Manlio Bacosi was a painter originally from Perugia, born in 1921 and died in 1998. He trained under Leo Ravazzi and Gerardo Dottori. Beginning in 1947, he was featured in numerous exhibitions not only in Italy but also abroad. Among the most important are the 1972 retrospective in Todi and solo exhibitions in Recanati for the Leopardi Festival and in Montecatini in 1975.

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