GIULIO TURCATO MANTOVA 1912 - ROMA 1995 Biography (b Mantua, 16 March 1912; d Rome, 22 Jan 1995). Italian painter. He trained in Venice from 1928 to 1935 at the Scuola d’Arte dei Carmine, the Liceo Artistico and the Scuola Libera del Nudo. From 1937 to 1939 he worked in Milan for the Novecento Italiano architect Giovanni Muzio. In Milan he was influenced by the expressionistic works of the Corrente movement, which opposed Novecento Italiano. His early landscape painting also showed the influence ... (view more) (b Mantua, 16 March 1912; d Rome, 22 Jan 1995). Italian painter. He trained in Venice from 1928 to 1935 at the Scuola d’Arte dei Carmine, the Liceo Artistico and the Scuola Libera del Nudo. From 1937 to 1939 he worked in Milan for the Novecento Italiano architect Giovanni Muzio. In Milan he was influenced by the expressionistic works of the Corrente movement, which opposed Novecento Italiano. His early landscape painting also showed the influence of the Scuola Romana and in particular of Mario Mafai’s colour tones. In 1943 he took part in a group exhibition with such artists as Emilio Vedova in the Galleria Lo Zodiaco in Rome, where he settled. In this period he also attended the studio of Renato Guttuso. After World War II he took part in the artistic debate that took place in Italy between abstract and realist artists. His researches into pure form were characterized by a post-Cubist vocabulary and by a powerful expressive chromatism inspired by Matisse. His attempts to reconcile these qualities with a precise, comprehensible painted image were demonstrated in exhibitions in Rome at the Art Club, which he co-founded, and the Galleria Il Cortile, in 1945 and 1946 respectively. He also participated in the Forma and FRONTE NUOVO DELLE ARTI groups from 1947, employing a non-geometric abstraction in the Composition series of this period. He developed a style of painting where references to political and social themes (as in the Revolutions , Public Meetings , Factories and Mines series) were evolved via a complete freedom of formal invention and complete stylistic autonomy (e.g. Public Meeting , 1950; Rome, Anna d’Ascanio). In 1952 he took part in the Venice Biennale with the GRUPPO DEGLI OTTO PITTORI ITALIANI, who attempted to overcome the antithesis between representation and non-representation by emphasizing the importance of form. BRUXELLES. PROVENIENZA MILANO, GALLERIA IL CANNOCCHIALE; PRATO, GALLERIA D’ARTE MARCHESE; BRESCIA, GALLERIA D’ARTE CONTEMPORANEA ALBERTO VALERIO; MILANO, COLLEZIONE PRIVATA.