Piero Dorazio was born in Rome in 1927. After brief studies in architecture, he quickly turned to the visual arts, particularly painting.
Leaving figuration behind at the age of 20, he co-authored the Forma manifesto in 1947 with Pietro Consgra, Achille Perilli, Carla Accardi and Giulio Turcato. Strongly inspired by Futurism and expressing leftist political views, the manifesto contrasted with the ideals of Socialist Realism, as illustrated by Renato Gattuso. It marked Dorazio’s full embrace of abstract art, and served as a guideline for the rest of his career.
In the 1950s, Dorazio began collaborating with several art journals, and writing as an art critic. He published The Fantasy of Art in Modern Life(1955), and worked as a lecturer and exhibition manager, until becoming the official critic for the Corriere della Sera newspaper in 1984.
In 1960, Dorazio received the Venice Biennale prize and embarked on a series of formative journeys to France, where he met Braque, Arp, Léger, Magnelli and Le Corbusier, and to the United States, where he started frequenting major artists from the New York School such as Hans Richter, Robert Motherwell, Willem De Kooning and Jackson Pollock.
Dorazio’s highly experimental approach to art took him from cubism to futurism, always with bright, contrasting colours. In 1957-58, inspired by Balla’s work on Divisionism, Dorazio began creating meshes, overlapping chromatic structures reinventing both space and surface. His paintings were exhibited at the Venice and Biennale in 1960 and 1966. Today, they are shown in major European museums in Italy, France, Switzerland, England and the USA.