Mimmo Germaná - Untitled

Mimmo Germanà's works display a marked expressionist vocation, which emphasizes the expression of emotions. Expressionist art seeks to proclaim its emotional states to the world and flaunt them with passion. Formally, this translates into a summary rendering of figures, through highly nervous and animated lines, as well as the use of a violent color palette. These characteristics are found in the historical avant-garde movements of expressionism, such as Fauvism and the Die Brücke movement in Germany. Mimmo Germanà, specifically, is a key figure in the Transavanguardia movement. This group of painters emerged from a project by art critic Achille Bonito Oliva, which aimed to transcend the conceptual languages ​​of the neo-avant-garde and rediscover the pictorial values ​​of the historical avant-garde movements, particularly Expressionism and Fauvism.

In Mimmo Germanà's paintings, which often feature the subject of a nude figure with rounded features and flowing hair, we can see how the Sicilian painter's style, consistent with the Transavanguardia movement, draws heavily on Matisse and Fauvism. The synthesis of the object is extreme, achieved through bold, bold lines that impose a sinuous, curvilinear flow on the entire composition. The bright color palette also harks back to historical Expressionism. Compared to the Fauvists, however, Mimmo Germanà seems to strive to maintain at least a semblance of volume in his subjects, using a more painterly application of color than the flattering of Matisse and his followers. His nudes, in fact, are always corpulent, yet, despite this, they always seem to be propelled into the air by a vital, joyful, and ecstatic force (which again harks back to Matisse and Fauvism). The works are constantly immersed in a landscape that is anything but natural, yet whose representation is informed by a profound emotional and spiritual charge. Formally, this is achieved through extreme synthesis and the use of saturated colors.

Mimmo Germanà was born in Catania in 1944 and died in Busto Arsizio in 1992. Self-taught, he managed to establish himself at the 1980 Venice Biennale. At that point he joined Achille Bonito Oliva's Transavanguardia, a critical-artistic project that rejected the cold languages ​​of conceptual art in favor of a recovery of a warm expressiveness inspired by the colors and sinuous shapes of the Fauves.

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