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    Mario Nutti    
         

 

   


 
     
 
  MARIO NUTI

Mario Nuti was born in Florence in1923.
Even as an adolescent, he cultivated his artistic leanings independently, exploring mediaveal and Renaissance art but also following his interest in 20th-century art and in literature.

Nuti frequented many of the artist and intellectuals of the time;Rosai, Soffici, Giovanni Spadolini, Romano Bilenchi. His first one- man show, at the Florence headquarters of the partito liberale, won pointed commentary from Spadolini; the paintings he exhibited on this occasion still spoke in the figurative language in which his paintings is deeply rooted.

In 1948 he took part of the most important of the ‘Arte d’Oggi’ exhibitions. He met Corrado Cagli and participated in the premio Forte dei Marmi contest/exhibition, organized by Cagli.
He joined the smaller circle of painters who founded Classical Abstractionism: Berti, Brunetti, Monnini, and Nativi and, with them, signed the Manifesto drafted bt Ermanno Migliorini and partecipated in many of the grouop’s initatives.

In 1952 Nuti stayed briefly in Paris, where he encounterd many expatriate friends, including Berto Lardera, Gianni Bertini and Gino Severini, and met Iliazd.
He continued his abstract work and showed at selected exhibitions of nonobjective art.
He produced decorations for shop and office interiors.

In 1959 Nuti Exhibited at shows of Florence painting held in Detroit and Buenos Aires.
Meanwhile, his paintings began to incorporate more ‘relief’, a path which drew on and found confirmation in his parallel activity as a ceramist, undertaken together with Brunetti. Early on, they managed thier own workshop (Maf) and later on, collaborated for some years on the top-line production of La Cava factory in Lastra a Signa. This activity represented another stage in the recovery of the ‘real’ in Nuti’s descriptive signs. The city walls of Florence became his primary references for that adhesion to that ‘Informal’ represented by some of his most intense work. In this territory of solid painting, for which Nuti won critical acclaim, he set down his visions of the masse sas symbol of a breathless unease that will never be calmed.

The disastrous 1966 Florence flood was, for Nuti, an almost cathartic moment: many of his paintings were damaged at the Galleria Michaud (then in Via del Pesce near Ponte Vecchio), with which he collaborated. The artist succeded in saving money of his own works and works by other painters, including Soffici, Rosai and Morandi, from the mud. As he watched the figures reappear from the clayey slime and veils of diesel fuel, Nuti recognized the path his painting was taking. From the moment on, the narrative-figurative elements of his work took form more and more clearly, although the rhyths and tempos of abstract composition remained.

For Nuti, the 1970s were a period of feverish activity, combining exhibition and research. By this time defenitively separated from his companions in Abstractionism, the artist partecipated in many national-level contest in various parts of Italy and exhibited, beside Florence, in Verona, Mantua, Milan, Biella, Brindisi, and Palermo.

In October of 1996 Mario Nuti died in Florence, After a summer spent planning a series of ‘double’ self-portraits in which the self became self-reference, an interior echo, as though in mirrors that reflected the imge back and back, into infinity.

Mario Nuti’s art works are found in public collections ( Galleria D’Arte Moderna di Palazzo Pitti; MART Museum of Trento; VAT Foundation Frankfurt) and private collections in Italy, Norway, USA, Buenos Aires, Baja California.

 
     

  Patricia Mendoza Art Gallery ©