“Sole di Mezzanotte” (1952) – Giuseppe Capogrossi (1900-1972)
(This postcard is part of a vast collection. An artist amassed it over sixty years ago and stored it in a wooden box).
“My ambition is to help people to see what their eyes don’t: the perspective of the space in which their opinions and actions originate”, said once Italian painter Giuseppe Capogrossi (1900–1972).
Capogrossi is a pivotal figure in Italian art, particularly known for his contributions to abstract painting after World War II. His “sign” paintings symbolize a unique visual language that transcends conventional representation.
Early life and career
“If my canvases evoke an emotion, whatever it may be, that’s already a success.” – G. Capogrossi
- Born on March 7, 1900, in Rome, Italy, to a noble family.
- He studied under the guidance of Felice Carena and Giambattista Conti. He exhibited his work for the first time in 1927.
- Between 1927 and 1933, he often traveled to Paris, absorbing influences from renowned artists like Modigliani, Picasso, and Renoir.
- The 1930s marked his affiliation with the “Scuola Romana“ (Roman School), a movement known for its figurative style that was often infused with ethereal tones.
- In 1933, he co-signed the “Manifesto del Primordialismo Plastico” with colleagues Emanuele Cavalli and Corrado Cagli. The manifesto aimed to revisit archaic themes within modern art.
Shift to Abstraction and the Sign
“I didn’t fundamentally change my painting; I only clarified it.” – G. Capogrossi
After World War II, Capogrossi underwent a significant transformation in his artistic practice, transitioning from figurative art to abstraction. By 1949, he had established his unique style. It was characterized by “signs” or “glyphs”, distinctive shapes that often resemble combs, forks, or serrated arcs. These motifs were arranged in diverse compositions.
Reflecting on this shift, he expressed, “From the beginning, I tried not to be satisfied with the appearance of nature… I began with natural images and, as time passed, sought to convey my inner sense of space directly.”
His abstract pieces, often titled “Superficie” (Surface), became quintessential representations of his oeuvre. They are defined not by allegorical or symbolic meanings. Instead, they serve as fundamental elements of a “primordial language.”
Capogrossi’s distinctive signs were not mere decorative elements but “spatial modules,” reflecting his personality and artistic essence. Critics hailed his work as “unmistakable.” His art is also described as “enigmatic.” These attributes confirm his place among the iconic Italian painters of the twentieth century.
Francesca Romana Morelli, curator of “Capogrossi. Behind the Scenes,” noted that “Capogrossi extracts the sign from the figures and reality around him… the tonal and sign-based paintings together form pieces of a puzzle, allowing us to glean the essence of Capogrossi.”
She described him as “a very shy man with deep ties to his family, friends, and city.”
“I have always thought that space is a reality within our consciousness, and I have set out to define it.” – G. Capogrossi
International acclaim
- Capogrossi gained international acclaim in the 1950s. He exhibited at the Guggenheim Museum in New York. At the Venice Biennale, he was awarded a dedicated room. He also received a prize in 1962.
- He also showed his work at Documenta in Kassel and the Carnegie International. His solo exhibitions spanned notable galleries in Paris, London, New York (notably Leo Castelli), and Brussels.
- In 1951, Capogrossi co-founded the Gruppo Origine with Mario Ballocco, Alberto Burri, and Ettore Colla. They advocated for abstract art and their focus was on the simplicity of expression.
- He joined the Movimento Spaziale in 1952. Lucio Fontana initiated the movement that championed a new form of spatial art. This art was responsive to contemporary scientific advancements.
- He served as a professor at the Accademia di Belle Arti in Naples.
- Capogrossi engaged in artistic endeavors. He explored various mediums, like glazed ceramics and tapestry designs.
Critics
Capogrossi’s body of work is often linked to the “research on the sign” prevalent in post-war Europe. It challenges traditional narratives. It also investigates the power of color through elementary two-dimensional forms.
His paintings have been described as “intricate and insistent.” They operate like “mysterious lists or sequences.” While they engage the viewer quickly, they stay complex in their interpretation.
Prominent art historian Giulio Carlo Argan was close to Capogrossi. After attending his exhibition at the 1954 Venice Biennale, he remarked: “You are among the few who prioritize form over the canvas. You acknowledge that the latter may need to be sacrificed to preserve the former. I find your position generous and human, even if some perceive it as secluded and abstractly contemplative.”
Argan also recounted that Capogrossi often sought refuge with him during the late 1940s. Capogrossi was grappling with the profound changes in his artistic language.
Today, Capogrossi’s works are housed in major public collections worldwide, including the National Gallery of Modern Art in Rome, Centre Pompidou in Paris,
- He passed away on October 9, 1972, in Rome.
Read more about Giuseppe Capogrossi
Leave a Reply