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Musée Magnelli, musée de la céramique - Vallauris Short biography of Alberto Magnelli Born in Florence in 1888 in a family of shopkeepers, Alberto Magnelli (1888-1971) achieves his first painting, a landscape, in 1907. He was a self-taught artist who never attended any art school nevertheless he studied the primitive Italian painting. His masters were Paolo Uccello, Masaccio, and above all Piero della Francesca to whom he owes his sense of composition. In Florence, he kept company with the artists of the Futurist movement but never wanted to join them. While his early works such as Neve (1910) – the first important painting in his career- were dedicated to the architecture of painting and plain colours, after 1914, his production (Virginia , Nature morte à la boîte rouge , and La Japonaise ) is painted with bright flat tints, which totally contrasts with his previous work. In 1914, Magnelli travels for the first time to Paris where he meets Apollinaire, Picasso, Léger and Archipenko. Back in Italy, he is forced to stay because of the break of the war in 1915. During this period, he produces paintings by resorting to a logical simplification of forms, progressively turning to abstraction. He thus becomes the first Italian abstract painter. Peinture n° 0521 (1915) - entitled with a simple number- is an emblem of his first abstract works. By 1917, he reintroduces figurative elements: the series of Explosions Lyriques (1918) are an echo to the end of the war, particularly dynamic and free in the style. In 1922, Magnelli goes back to a more classical style. At the end of the 1920’s, he stops painting. In 1931, he starts again and we witness a renewal in his painting as he visits the Carrara marble quarries, he produces the series of Pierres . The same year he moves to Paris where an exhibition is held especially for him for the first time at Pierre Loeb’s in 1934.He meets Kandinsky and definitively turns to abstraction. Formes rebondissantes (1937) or Complice (1938) are representative of Magnelli’s abstract paintings. As France is under Nazi occupation, Magnelli and his wife seek refuge in the south of France in Grasse. He makes friends with Jean Arp, Sophie Taeuber and Sonia Delaunay who are also refugees. Altogether, they produce a collaborative album of lithographs entitled 10 Origin. Back in Paris in 1944, he is regarded as a great abstract painter thanks to the exhibition at the Drouin gallery in 1947. His achievement still keeps elements of reality as we can see in the titles of his paintings and in the interlocking of organic forms like in Rien d’autre (1947). He then moves toward a monumental style, Volontaire n°3 comes as an echo to his first works. His painting is then characterized by its’ austerity and rigour - which he learnt from the Italian Renaissance- and geometric forms. .

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Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo.
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