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Ennio Finzi was born in Venice in 1931 and, very young, he is interested in painting and music. After temporarily attending courses 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. With the Biennale of 1948, the Historical Archives of Contemporary Arts reopened in Venice and this fact offered him the opportunity to devote himself to the study of the masters of the historical avant-garde. The meeting with Atanasio Soldati, generates a stimulus that will influence the subsequent works characterized by bright colors and rigorous formal balance. Thus were born the first "inventions" in which the rhythm, color, light, timbre, take on the role of supporting elements and become a basic constant of all his research. In those years, Virgilio Guidi exerted a considerable influence on Finzi for the ideological force of his creative thought and Emilio Vedova for the impetus of the gesture that attacks the surface. The discovery of dodecaphonic music led him to appropriate the principle of "dissonance". Suddenly, in this way, the practice of a color freed from any relation of tone and charged with the exclusive function of timbre, opened up new and vast horizons, so much so that from that moment until the end of the 1950s his work was an obsessive search for the semantics of gesture, light, and timbre. The sound-color relationship, a color that Finzi, more than "seeing", loves to "listen" to in its most intimate resonances, allows him to express himself according to other completely aleatory rules in unbounded autonomy. At the end of the '50s, marked by the upsetting intuitions of Lucio Fontana, whom Finzi met in Milan on the occasion of one of his exhibitions at the Apollinaire gallery, the gestural turbulence and the expressive urgency subside and a more reflective dimension takes over in the direction of an overcoming of painting itself, with the approach to gestalt theories on the phenomenology of perception. The principles of optical art inform his research on optical suggestion until 1978. In 1980 painting regains the dominant space with a subsequent alternation of color and non-color, light and darkness that compete for the surface of the work. Black is placed as the light of darkness, emptiness, silence and leads him to probe the most secret resonances of the non-existent on the invisibility of painting itself. In the continuous dialectic that distinguishes the principle of research, Finzi proceeds through successive stages of evolution characterized by expansions of chromatic sumptuousness and sudden zeroing of all brightness in which he concentrates every energetic emission in its potential state. He began to exhibit in 1949 at the Bevilacqua La Masa Foundation in Venice, where in 1956 he held his first personal exhibition. He participated, by invitation, in 1959 and 2000, at the Quadrennial of Rome and in 1986 at the XLII Biennale d'Arte di Venezia. They are to remember, in addition to the retrospective exhibition of 1980 at the Bevilacqua La Masa in Venice, the exhibition at the Gallery of Modern and Contemporary Art of Palazzo Forti (Verona) and the Gallery of Modern Art Palace of Diamonds (Ferrara). During 2002 it has been prepared to Rome and Spoleto a great retrospective entitled: Ennio Finzi, Venice and the avant-garde of the postwar period. The last important personal exhibition was held during 2005 in Urbino in the halls of the Palazzo Ducale. During 2006 and 2007 together with the works of Gino Morandis has exhibited in Prague, at the Fondazione Manes, and Naples in the halls of the Royal Palace. He has taught at the Academy of Venice. He lives and works in Venice - Mestre.Read more Close