He was born in Venice in 1931 and he became interested in painting and music at a very young age. After a temporary attendance at the Art Institute of Venice he was attracted by the fascinating discovery of the structural upheaval of Cubism, which allowed him to transcend the reality of representation. After the 1948 Biennale, the Historical Archives of Contemporary Arts re-opened in Venice. This fact gives Finzi the possibility to study the avant-garde masters.
The meeting with Atanasio Soldati, who stayed in Venice for some time, initiated an exchange that probably influenced later works with vibrant chromaticism and rigorous formal equilibrium.
This is how the first ‘inventions’ were born, in which rhythm, colour, light, timbre take a principal role and will become a base constant of all his research. Significant influence in those years will be exerted on Finzi by Virgilio Guidi thanks to the ideological force his creative thinking and by Emilio Vedova for the impetus of the gesture with which he attacks the surface.
The discovery of twelve-tone music leads him to appropriate the principle of ‘dissonance’. Suddenly, in this way, the practice of one colour free from every relationship of tone and taking the unique function of timbre opened new and vast horizons, so much so that since that time and until the end of the 1950s, his work will be an obsessive research on the semantics of gesture, light, timbre. The relationship between sound and colour, a colour that Finzi, rather than ‘seeing’ loves to ‘listen to’ in its most intimate resonances, allows him to express himself according to other rules, autonomous and disconnected.
At the end of the 1950s, marked by the revolutionary insights of Lucio Fontana, that Finzi met in Milan on the occasion of his exhibition at the galleria Apollinaire, the gestural turbulence and expressive urgency subside and are replaced by a more reflexive dimension in the direction of an overcoming of painting itself, approaching gestalt theories on the phenomenology of perception. The principles of optical art informed his research on optical suggestion, due to the phenomenon of the conservation of retinal images, until 1978.
After a brief crisis that followed the exhaustion of his interest in the principles of structured visual landscape, in 1980 Finzi indulged, with renewed energy and enthusiasm, in the newfound directness of painting investigating the fascination of colour, which rose over the dissonance of the 1950s.
- Finzi Ennio
- Titel des Kunstwerks
- Pastelle, Kohle, auf Papier und auf dem Tisch berichtet
- 33×24 cm
- 50×41×5 cm
- Verkauf mit Rahmen