Molinari: Sketch of a Chronology
At the beginning of his career, for about a decade, Molinari gives himself very short deadlines, before devoting himself to his big series: the vertical striped fabrics of equal width, then the Quantifiers.
1951: Painted a few paintings in the dark, which he sees as a criticism of automatism.
1953-1955: Series of canvases built by colored spots, juxtaposed, which create a kind of wall of painting. Little by little, the spots are becoming larger and smaller, more and more geometrical, more and more flat.
1955: Produces an important suite of black and white canvases, which will first be exhibited at L’Actuelle gallery and then in New York.
Late fifties: Abandon oil for acrylic, which accelerates the passage of his painting to plasticism.
Early sixties: Disappearance on the canvas of any vertical element, in favor of the vertical stripes, first of unequal width that cross the table.
1962-1968: Great period of vertical bands of equal width which will bring Molinari to New York then to Venice.
1969-1975: Exploring, with diagonals, other topological spaces at the same time as other chromatic scales.
1975-1997: The painter moves to a more intimate, more interior universe: first with a short series of Trapezes, then with twenty years of Quantificators, by far the longest time the artist will have experienced.
Then come an unexpected series of Continuums, lozenges inspired by the last Mondrian (the one that Molinari discovered in New York in 1955), and finally the series, also unexpected, devoted to Mallarme’s poem A stroke of the dice will never abolish the chance , in a way, the swan song of the artist…Download the artist biography