Guido Molinari

Molinari: Sketch of a Chronology

At the beginning of his career, for about a decade, Molinari gave himself very short deadlines before devoting himself to his big series: the vertical striped fabrics of equal width, then the Quantifiers.

1951: Milonari created 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 become larger and smaller, more and more geometrical, more and more flat.

1955: Produces an important series of black and white canvases, which will first be exhibited at the L’Actuelle gallery and then in New York.

Late fifties: Abandons oil for acrylic, which accelerates the passage of his painting to plasticism.

Early sixties: Disappearance of all other vertical elements in favor of the vertical stripes, first of unequal width that cross the table.

1962-1968: Important period for vertical bands of equal width which will bring Molinari to New York then to Venice.

1969-1975: Explores diagonals and other topological spaces as well as chromatic scales.

1975-1997: Molinari moves to a more intimate, more isolated universe: first with a short series of Trapezes, then with twenty years of Quantificators, by far the longest series the artist has experimented with.

Then comes an unexpected series of Continuums: diamonds inspired by the last Mondrian (the one that Molinari discovered in New York in 1955). Finally, a series devoted to Mallarme’s poem, A Stroke of the Dice will Never Abolish the Chance, is ,in a way, the swan song of the artist…