Tarcisio Generali - 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.

Tarcisio Generali's informal art begins directly with the perception of reality and the acquisition of sensory data. The most recurring subjects in his works are landscapes, still lifes, or small fragments of everyday life, but the objects are transfigured by an intense perceptive exercise that transforms things into matter and gesture. Thus, the painted surface appears extremely dense, and the crackling of color takes on a prominent role in Tarcisio Generali's interpretation of reality. Objects lose their shape, encased in a thick, fragmented material reminiscent of the works of Alberto Burri. Color also participates in this perceptive exercise, manifesting itself in hues that have little to do with nature and taking on profoundly spiritual connotations of fluorescent hues, violets, reds, and oranges.

Paolo Generali was born in Fano in 1904. At the age of thirty, he decided to follow his calling to monastic life and served as a novice at Camaldoli from 1934 to 1936, then completed his high school and theological studies at Fonte Avellana from 1936 to 1942. Later, taking the name Tarcisio, he returned to Camaldoli from 1942 to 1946, the year in which he moved to the monastery of Monte Giove. Here, in addition to his spiritual and monastic life, he also devoted himself actively to painting, even painting the walls of his cell. Beginning in 1948, he traveled to various Italian cities for solo and group exhibitions. 1959 was a year of profound crisis for him, culminating in his removal from the monastery with a dispensation from the ecclesiastical authorities. In the 1960s and 1970s, he became a well-known painter in Fano, surrounded by friends and art dealers who promoted and sold his works in large quantities. In 1976, however, he felt the desire to reconnect with his brothers, left Fano, and moved to Camaldoli, where he spent his life praying and painting until a few weeks before his death in 1998.

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