Antonio Corpora (1909-2004)

Professions: Painter

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  Antonio Corpora (1909-2004)

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  Antonio Corpora (1909-2004)

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  ANTONIO CORPORA

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  Antonio Corpora (1909-2004)

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Antonio Corpora Biography

(b Tunis, 15 Aug 1909). Italian painter. He studied at the Ecole des Beaux-Arts in Tunis. From 1930 to 1937 he settled in Paris, travelling frequently to Tunisia and Italy. His first experiments in non-figurative art date from c. 1934. During this period he became part of a circle of Milanese abstract artists, including Lucio Fontana and Osvaldo Licini, who were linked to the Galleria Il Milione, where Corpora exhibited in 1939. In 1945 he settled in Rome. Of all the Italian artists active during the first years after World War II, Corpora was among the most determined in rejecting the isolationism of Italian painting during the Fascist years and in putting forward a renewal of pictorial language that followed in the modern tradition of Fauvism and Cubism. In 1946, at the Galleria del Secolo in Rome, he took part in the exhibition Corpora, Fazzini, Guttuso, Monachi, Turcato in which for the first time the term ‘Neo-cubist’ was applied to a group of Italian artists. Corpora’s Neo-cubist phase was characterized by compositions articulated in space more through the use of colour than through form and mass, as in Fishermen (1946; Rome, Break Club priv. col., see 1988 exh. cat., pl. 12). In 1946 he joined the group Nuova Secessione Artistica Italiana, later named FRONTE NUOVO DELLE ARTI, taking part in their first group exhibition at the Galleria della Spiga in Milan in June 1947. He also exhibited with them at the Venice Biennales of 1948 and 1950, and in 1952 he won the prize for the most promising young Italian painter. Alba (1952; Rome, G.N.A. Mod.), which was conceived in discordant colour schemes, is typical of his work in the 1950s; this rich use of colour led him towards Art informel . By the mid-1960s Corpora’s colour had lightened and the rough surfaces had given way to blocks of paint smoothed on to the canvas with palette knives (e.g. Green Space , 1965; Rome, G.N.A. Mod.). This was a temporary period of calm, for in the late 1970s and in the 1980s he used energetic gestures again. The luminosity of colour and layering of paint in works such as Composition (1986; artist’s col., see 1988 exh. cat., pl. 79) explicitly recalls the late waterlilies of Monet.

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