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Vinicio Berti (Florence 1921 - 1991) was one of the main exponents of abstractionism on the Italian scene. He made his debut in the early 1940s with works of a realist-expressionist character, which in their approach to the popular world and the dramatic reality of war expressed a categorical break with the Florentine pictorial tradition, especially post-Rosaic. In 1945 he founded, together with Brunetti, Farulli, Nativi and the poet Caverni, the newspaper "Torrente" which expressed the rejection of an intimate vision of art in the name of direct participation in the tensions of contemporary reality. Berti was one of the protagonists of today's Art movement that for some years brought together important Italian and foreign artists of the moment, under the banner of a common innovative conviction, organizing three important exhibitions in Florence from 1947 to 1949. In 1947, after an initial period of re-reading Cubism and Futurism (1945/1947), Berti moved on to abstract painting and then continued along the path of the historical avant-garde (in particular following the line of Mondrian, Malevic, Magnelli), becoming a strong part of the general renewal of European artistic culture. Berti thus achieved, with works such as Vertical Composition or Symbol, what he called "a new classicism", in opposition to all the classical traditions still present in contemporary art, with other Tuscan painters close to him for the formation of ideas and aesthetic convictions. Together with Bruno Brunetti, Alvaro Monnini, Gualtiero Nativi and Mario Nuti Berti he founded the group of "Astrattismo classico" in 1947. Various group exhibitions were organized and at the end of the group's brief season (1947/'50) the aesthetic-cultural positions were brought together in a Manifesto. Classical Abstractionism aimed to start a new cycle of contemporary art with the end of the destruction of form started by Wols and Fautrier to propose, through a language anchored to history capable of representing the times, a rational and constructive narrative on the thread of an internal vision of the material. Having broken down, the Berti group continued to develop and expand the expressive possibilities of Classical Abstraction in content and form. Then follows the phase defined by the artist himself in Expansion of Classical Abstractionism (1951-55): it is characterized by a freer handwriting and a greater evidence of connections between lines and planes of colour. Between 1947 and 1950 a rigorous system of classical geometry continues to support the works, from the cycle of the Hostile Citadels (1955-56) to the Homage to Einstein, a sort of journey through space-time relativism. This was followed by the cycles of Brecce nel tempo (1955-58) and the Avventuroso astrale (1959-65), inspired by the first space exploits with the important work of 1963 - Utopia del tempo H3 winner of the Il Fiorino award - emblem of the entire Bertian conception of man aware of his immense expansive abilities. Since 1966 it has been the turn of the Cittadelle di resistenza, Partenza zero, Geometria volumetrica, Realtà antagonista, up to Dal basso in alto (1981), prelude to the more recent "Visioni verso l'alto", which represent the extreme phase of the development of classical abstraction in the confrontation with the incessant becoming of contemporary reality. Berti, in parallel with his painting activity, was also a well-known illustrator of comics and children's books. He died in Florence in 1991.Read more Close