Rosabianca Cinquetti - Untitled

The work draws on an Informal aesthetic language. The devastation wrought by World War II 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.

This work is truly fascinating, as it showcases a rather unusual side of the artist Rosabianca Cinquetti. Her work, in fact, is generally based on a figurative language, whereas this silkscreen relies on a highly hermetic aesthetic. The subject loses all contact with reality (though perhaps there is a hint of a sea view and the presence of a floral element), and the composition is constructed through a juxtaposition of abstract elements and different textures that create an extremely complex surface. The silkscreen thus demonstrates a strong experimental streak on the part of Rosabianca Cinquetti, evident in the variety of images and material textures that compose this work, as well as the artist's ability to manage such complexity in an extremely coherent and balanced composition.

Rosabianca Cinquetti was born in Verona in 1946. Her father, a technical draftsman, instilled in her a love of drawing from an early age. She graduated from the Verona Art School in 1964. After obtaining her qualification, she devoted herself to teaching. In 1980, she began attending the free courses in Contemporary Art Movements at the Cignaroli Academy, taught by the painter Francesco Giuliari. In 1982, she participated in the Lubiam Prize in Sabbioneta and was named the best student of the Italian Academies. This satisfaction gave her the emotional strength to finally leave teaching and dedicate herself full-time to painting. By choice, she has always kept herself relatively distant from anything connected to the art market, favoring cultural initiatives. Her attraction to American Hyperrealism led her to develop her own form of European-inspired Hyperrealism, through which she manages to autobiographically express her own sense of womanhood.

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