Italian painter Giuseppe Capogrossi was born in Rome in 1900. From an aristocratic family, he pursued a law career alongside his artistic practice. Capogrossi began as a figurative painter, painting portraits and copies of old-masters works in the Jesuit salons of the early 20th century. He broadened his subject matter when he enrolled in Felice Carena’s renowned “Scuola di Nudo” between 1923 and 1924, studying nudes, landscapes and still lifes. In 1927, he began working with Fausto Pirandello, and went on his first trip to Paris, where he met with the international avant-garde. Soon after, in 1930, he took part in the 17th Venice Biennale, then in the third exhibition of the Fascist Syndicate of Fine Art in 1932, and in an exhibition at the Galleria del Milione in Milan with his friends Cagli and Cavalli, with whom he signed the Manifesto of Plastic Primordialism. The three artists then returned to Paris in 1933 exhibited for the last time as what George Waldemar defined as “the School of Rome”. Considered the bringer of renewal in Roman painting, Capogrossi enjoyed great international success: he was invited to take part in the Venice Biennale nine times between 1934 and 1968, and in 1937, he was exhibited in the 1937 Exhibition of Paintings in Pittsburgh, in the Anthology of Contemporary Italian Painting at the Cometa Art Gallery in New York, and the Akademie der Künste in Berlin. He also participated at the Quadriennale Nazionale d’Arte di Roma in 1935, 1939, 1943, 1955, and again in 1957. After the war, Capogrossi abandoned figuration to dedicate himself to Informal Art. In 1951, he founded the Origine group with Ballocco, Colli and Burri, and in 1952, he joined the Gruppo Spaziale in Milan. He explained his turn towards abstraction through the radical conception that he had reached, through the informal, a higher stage of figuration, one in which form is no longer imitated, but assimilated. Entitled simply Superficie (Surfaces), his new compositions were graphic arrangements of repeated elementary symbols encoded through a brand new semiotic language, seemingly archaic and indecipherable - a summary of everything that surrounded the artist. With his international renown still growing, Capogrossi sent works to the Salon de Mai in Paris and to the Milan Triennale, and took part in Documenta I and II in Kassel, as well as in the third and fifth Sao Paulo biennials. He was invited to the Tokyo International Biennial in 1960 and to the 17th Salon de Paris. In 1962 he had his own room in the Venice Biennale and won the first prize alongside Fausto Morlotti. He later exhibited in the collective Painting and Sculpture of Decade 1954 - 1964 exhibition at the Tate Britain in London, and in 1967 and 1969, in the international graphic design exhibitions of Ljubljana. In 1968, his work was shown at the Spazialismo exhibition in Vicenza and in 1971, he received the “Twenty years of biennial” prize at the 11th Sao Paulo biennial. Giuseppe Capogrossi died in Rome in 1972.
Il Dado è tratto.
Arte contemporanea italiana oltre la tradizione
Il Dado è tratto. Arte contemporanea italiana oltre la tradizione, exhibition catalogue published in two languages (Italian and English) with an essay by Sergio Risaliti, 240 pages, illustrated artworks, archive documents, biography, selected bibliography.
2015, pag 240, Italian / English