Alberto Burri was born in Città di Castello (Perugia) on the 12th of March 1915. He obtained a degree in medicine in 1940. During the Second World War, as a medical officer, he was taken prisoner by the Allies in Tunisia in 1943 and was sent to Hereford Camp, Texas. This is where he started painting. On his return to Italy in 1946 he settled in Rome and dedicated himself to painting. He held his first solo exhibition in 1947–1948 in Rome (Galleria La Margherita).Read More
In 1951 he participated in the foundation of the 'Origine' group with Ballocco, Capogrossi and Colla. The following year he exhibited Neri e Muffe in the Galleria dell’ Obelisco. In 1950, his sack works gained importance, eventually dominating his solo exhibitions which, after Rome were held in various American and European cities: Chicago, New York, Colorado Springs, Oakland, Seattle, São Paulo, Paris, Milan, Bologna, Turin, Pittsburgh, Buffalo, San Francisco.
At the start of the Sixties, Legni, Combustioni, and Ferri were subsequently exhibited (Venice, Rome, London, New York, Brussels, Krefeld, Vienna, Kassel). In the same period the first anthological collections were shown in Paris, Rome, L’Aquila, Livorno and also Houston, Minneapolis, Buffalo, Pasadena, which, with the new contribution of the Plastiche, will then become true historical retrospectives in Damstadt, Rotterdam, Turin and Paris (1967–1972).
The Seventies saw a progressive refinement in his technical methods, with Burri’s shift towards monumentality, from Cretti (soil and Vinavil glue) to Cellotex (compressed for industrial use) while in Assisi, Rome, Lisbon, Madrid, Los Angeles, San Antonio, Milwaukee, New York, Naples there was a succession of historical retrospectives. In more recent years Burri created complex cyclic organisms with a polyphonic structure. The first was Il Viaggio exhibited in Città di Castello in 1979 and in Munich the following year, then Orti in Florence 1980, Sestanti in Venice (1983) and Annottarsi (1985–1986), which began the European presentation in Rome.
Since 1981 there has been a permanent exhibition of selected works in the Palazzo Albizzini in Città di Castello, Burri’s homage to his hometown. In 1984, a comprehensive exhibition on Burri was organised in Milan for the inauguration of the Brera contemporary art industry. The painter’s success with the critics was closely connected, on one hand with the contrasting reactions arising from the popularisation of his work, engendered by the evolution of taste in the cultural landscape of Europe and the USA.
On the other hand it was connected with the critics’ approximations and attempts to connect meaning and motive to the pseudo-categories popularised internationally: Art brut, Informel, Conceptual, etc. In this climate, newspapers and magazines, from the Fifties, began to register a changing taste in the public, from scandalised repulsion to curiosity and acceptance, from wilful acceptance to undiscerning exaltation.
In 1973 Burri received The Premio Feltrinelli per la Grafica from the Accademia Nazionale dei Lincei with the following reason: 'per la qualità e l’invenzione pur nell’apparente semplicità, di una grafica realizzata con mezzi modernissimi, che si integra perfettamente alla pittura dell’artista, di cui costituisce non già un aspetto collaterale, ma quasi una vivificazione che accoppia il rigore estremo ad una purezza espressiva incomparabile [for the quality and originality of the apparently simple images, achieved with modern methods which function perfectly for the artist’s work, not as a collateral aspect but as an invigoration that unites extreme rigour with incomparable expressive purity]'.
The prize was then devolved by the artist for the restoration of Luca Signorelli’s cycle of frescos in the Oratorio di S. Crescentino a Morra (Città di Castello). In 1989 the Fondazione Palazzo Albizzini bought the Ex Seccatoi del Tabacco (Old Tobacco Warehouses), a complex of industrial sheds used until the end of the Sixties for the exsiccation of tobacco. These unique and unusually large buildings, completely painted black externally in accordance with Burri’s wishes, were thus transformed into an enormous sculpture, the ideal location for the great pictorial cycles like Il Viaggio, Annottarsi, Rosso e Nero, Non Ama il Nero. These, and many other works, among which the three sculptures: Grande Ferro Sestante, Grande Ferro K, Ferro U, set at the en- trance of the Ex Seccatoi del Tabacco, were donated by the artist to Città di Castello to complete the first nucleus in Palazzo Albizzini.
In 1990, the Fondazione Palazzo Albizzini published an exhaustive book with documentation on 2000 of the artist’s works (Burri contributi al Catalogo Sistematico). In the same year, Burri exhibited works in a private New York gallery (Salvatore Ala Gallery) the Palm Springs cycle, the 11 big cellotexs of 1982. Then followed the Perileio: Burri-Saffo exhibition at the Istituto Italiano di Cultura in Athens. The Sapone di Nizza gallery also showed a series of Cellotex at the F.I.A.C. in Paris and the Grande Ferro R sculpture was installed at the Palazzo delle Arti e dello Sport Mauro de Andrè in Ravenna. In 1991 an extensive retrospective organised by the Pincoteca Nazionale di Bologna was displayed at Palazzo Pepoli Campogrande di Bologna, where very small works were exhibited for the first time. The exhibition toured to Locarno, hosted by the Pinacoteca Comunale Casa Rusca. In the same period the Castello di Rivoli presented 20 previously unseen Cellotex. In 1991 Burri also exhibited his work at the Mixografia Gallery in Los Angeles.
In 1992 Metamorfotex was presented to the public at the Ex Seccatoi del Tabacco in Città di Castello and The Fondazione Palazzo Albizzini presented the Ex Seccatoi del Tabacco catalogue on that occasion, with an updated bibliography. In the same year the Sapone Gallery of Nice showed works by Burri at the F.I.A.C. in Paris at the Grand Palais, this time works from 1949 to 1992 while Galleria delle Arti of Città di Castello housed a graphic exhibition. Between 1992 and 1993 the Obalne Galerije Piran and the Moderna Galerija of Ljubljana presented a retrospective of graphic works (from 1962 to 1981). At The Ex Seccatoi del Tabacco in 1993 a new cycle was opened to the public, Nero e Oro consisting of 10 Cellotex. That same year an enormous ceramic work with the same title Nero e Oro was realised for Faenza, and placed in the International Museum of Ceramics, as a gift from the artist to the city. Also his graphic works were shown in the Museo delle Genti d’Abruzzo of Pescara. In 1994 Burri participated in The Italian Metamorphosis 1943–1968 at the Solomon R. Guggenheim Museum of New York.
From the 11th of May to the 31st of June 1994, the Polittico di Atene, Architetture con Cactus cycle was on exhibition at the National Art Gallery of Athens subsequently shown at the Istituto Italiano di Cultura in Madrid (1995). On the 10th of December 1994 there was a celebration for Burri’s donation to the Uffizi Gallery in Florence, which included a 1969 Bianco e Nero painting and three graphic series dating from 1993 to 1994. Alberto Burri died in Nice on the 13th of February 1995.
Text courtesy Mazzoleni.
President Trump's executive order banning travel and rescinding visas for citizens of seven majority-Muslim nations does not lack for opponents in New York — from Kennedy Airport, where striking taxi
Moderated by Tim Marlow (Artistic Director of the Royal Academy), with Luca Massimo Barbero (Director of the Istituto di Storia dell’Arte at the Fondazione Cini), Bernard Blistène (Director of the Ce
Archive videos of Alberto Burri (1915–1945) working on his famous 'Plastiche' series. We don't own the rights of the song. All rights goes to Imagine Dragons & Interscope.