Enzo Brunori



Enzo BRUNORI | Works and biography


BIOGRAPHY

Enzo Brunori, born in 1924 in Perugia. It is precisely in Umbrian cultural circles that he began to take his first steps in the artistic environment from a very young age. He graduates from the Art Institute and meets what will prove to be a key figure in his vocation to painting, Gerardo Doctors, an Italian painter of the Futurist movement, signatory of the Aeropainting manifesto. Many tried to convince him to move to Rome for a more active artistic participation, even the then Roman minister and governor Giuseppe Bottai, who was fascinated by his work during a visit to Perugia, also offering him to continue his studies in the capital. But Brunori he preferred to decline that invitation and continue his studies in his city.
It is in this period that the University for Foreigners of Perugia promotes summer courses in which authoritative professors alternate such as UngarettiZeviArgan and Venturi which he follows with passion and with whom he establishes a profitable and lasting relationship.

Just a little while after his teacher Gerardo Doctors he managed to convince Brunori to move to the capital where he held, in 1951, his first exhibition organized byArt club from Enrico Prampolini at the Gallery "The Pincio". He arrived in Rome in the crucial period of the dispute between the abstract and the figurative; the road to affirmation was not at all easy for him because they were the dark years of the post-war period, where art had no easy outlets. Thanks to tenacity and talent. support from many of his friends, in particular the support of the art critic and teacher Lionello Venturi, he manages to make his way in the study of post cubist laws drawing inspiration from nature and things and ignoring instead the interest in the faithful reproduction of them. Goes through a period of research that friend Venturi he will later define as abstract-concrete, a research that will arrive with a well-defined idea in the 27 works he exhibits in the exhibition organized at the Roman gallery "The Pincio", according to which the study of truth excludes any form of imitation. It presents itself with cubist works such as Dry Flowers (1947), Tree (1949), Portrait (1948-1951) and with a work that most captures criticism for the accurate study of Neoplasticism, Chair Coat Hat (1950). In the following years, he tries his hand at freer paintings where color determines shapes and rhythm, among these Mimosas and Mimosa tree (1953). Between the 50s and the 60s it was color that took over, his coherent thinking evolved towards what Crispolti he calls "the poetics of color".

Equally important in those years will be for Enzo Brunori the strong bond of friendship with Enzo Rossi, an Italian painter who strongly supported the reasons for Cèzanne's experience and Cubism, based on the observation of space as a living body of the world; the same one who then started an experimentation in the abstract field based on a sense of linear and chromatic tension.

In 1953 the Abstract Art Exhibition was set up in the National Gallery of Modern Art in which Brunori participates with his work Painting (1952).
In 1955 we find him part of the roster of artists called to exhibit their works at the "Young Painters" exhibition at the Schneider gallery in Rome; artists united by the non-figurative trend. In the different works Mimosas confirms its emancipation of chromatic values, color assumes an autonomous expressiveness for the painter, intrinsic in all its capacity to suggest the essence of the natural datum.
1956 marks for the painter Brunori a period of change that sees him also introduced into the international art scene; in recent years he exhibited in some exhibitions abroad and participated in the 28th Venice Biennale exhibiting three canvases, After the rain (1955), Indoor garden (1956) and The green tree (1956), alongside the works of husband and to the abstractions of Dorazio.

He became a much appreciated painter for his artistic coherence, admired and discussed by artists, critics, collectors and merchants, not only Italians. In those years the "sea" became one of the elements of inspiration for Enzo Brunori who is overwhelmed by new emotional transports, bringing real stylistic changes of course; color takes on more sensory and visceral traits in works such as Waves on the rocksBlue sea and Sun on the sea. One of his artistic inspirers was certainly Renato Birolli, an artist of the 1930s who identified himself with the search for a European cultural-artistic horizon and with the search for an art that was not archaic but well rooted in the present and morally committed.
The four-year period of 1956 and 1959 and the two-year period of 1958 proclaimed his artistic success, a success which, however, soon came to a halt.
The sixties determine in fact in Brunori a profound change in personal research that heralds the prelude to a phase of self-exile, which he would prefer to call a period of solitude, even refusing to participate in the Venice Biennale whose qualitative decay he openly contested. This public opposition leads the critics to no longer consider at the public level.
In the years to come he will never stop painting, he shows up in 1961 with the two works The Day is reborn and The Great Mirror, capable of defining the full individuality of the artist. However, it remains distant from public exhibitions, if not the rare exception that it chooses with great care.
He will say the same in an interview that painting is not called to have to express judgments but to demonstrate quality, which requires a lot of reflection and ways and times of work for him in contrast with the rules of the game that art played in that period.

From 1965 he became a teacher at the Academy of Fine Arts in L'Aquila and in the same period he directed the art institutes of Cortina and Civitavecchia; in 1977 he taught at the Academy of Fine Arts in Rome. His productions from the seventies and eighties, including The Blue Shaman (1976), Etching (1979) and Seagulls (1983) highlight the existential state of Brunori and the search for real elements in the use of colors.
In 1988 the city of Perugia dedicated an anthology of his artistic movement to him, a retrospective which was then repeated in Faenza as well.
In 1992 we see him participate in the exhibition in honor of his friend Lionello Venturi "From Cézanne to Abstract Art", staged first in Verona and then in Rome.

In 1993 Enzo Brunori he died of an illness and, in the same year, the cultural association "Enzo Brunori" was founded, wanted and promoted in his honor by his life partner Victory Lippi, which collects all the works and the archive of the Perugian painter, remembered as the Shaman of Color.