Bruno Cassinari

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Bruno Cassinari (1912-1992) was born in Gropparello, in the province of Piacenza and began his artistic training at the Institute of Piacenza in the twenties Gazzola, period which was followed by transfer to Milan, where he attended courses at the Humanitarian, the school of the Castello Sforzesco. Then, from 1934, attended the Brera Academy, where he graduated in 1938, under the guidance of Aldo Carpi.
After winning, in 1939, Award Littoriali, in Milan he was involved in the climate that inspired the current group of, with whom he exhibited at the Great Gallery at the Permanent, remaining in contact with it throughout the course of his career.
To the 1941 was the preparation of his first solo show took place in the workshop of artists and accompanied by the current presentation of Elio Vittorini. Followed the ceremony with the Third Prize in Bergamo, event in which, the following year, emerged as one of the most significant artists of his time, between those who wished to break away from the rigors of official taste.
In later years he continued his exhibitions, which resumed after World War II, motivated by the fact that, in 1946, joined the New Secession Artistic developed in Venice, But away from it before it is constituted in the New Front for the Arts.
After a stay in France, through which he met Picasso, then returned to Italy where he exhibited at the XXV Venice Biennale, in 1950, where he was ordained among the major Italian painters. Investments at the Venice Biennale is re-proposed with success throughout the course of his career.
The exhibitions of Cassinari was always very passionate, bringing it to participate in the most important Italian and foreign art, as the Sao Paulo Biennale and Kurt Valentin in New York, in both 1953, always getting awards, awards and a great public success and critical.
In 1954 was set up one of his staff at the Gallery The Travels of Milan, followed by further personal Kunsthandel Nordisk to Copenhagen.
Besides the activity as a painter also occupied the sets and costumes for the ballet España, di Emmanuel Chabrier, held at La Scala in Milan. In addition, participated at the World Documenta in Kassel.
VIII National Show Award Fiorino Florence, in 1957, obtained the Diploma of the golden city. They followed relentlessly participation in competitions and events, even beyond national borders, like London, Monaco and Berlin, where he organized major exhibitions, promoting their art with great success.
Hats for the publisher of Bologna painted the cover essay of Anne Frank "The Magician and Other Stories".
At the same time his exhibitions, in 1962, he was commissioned a major work for the church of Santa Barbara in Metanopoli, Our Lady of Hope, which was placed at its headquarters in 1966.
Its activities continued unabated, important international destinations by touching, with artists of great stature. In 1968 the publisher and printer of Milan Tullio De published a folder with thirty-five, etchings and aquatints of, production system of the artist, alternative to traditional painting, highly valued by publishers who used it as an illustrator. Among these works there was an illustration of the Satyricon of Petronius to the Editor Palaces in Milan, drawings later, in 1972, presented at the Pace Gallery in Milan. The publishing house also published a monograph on Electa Cassinari curated by Carlo Pirovano, which was also translated into French in 1970.
In the eighties, now at the peak of his career, continued to participate in solo and group exhibitions, several anthologies and exhibitions were dedicated to him when he was still alive, such as that brought from his hometown, in 1983, Palazzo Farnese, in which more than the paintings were exhibited sculptures, engravings and drawings. The last staff, held when the artist was still alive, was held at Monza in Montrasio Gallery 1992.
He died suddenly in his studio in 1992, but his works did not cease to be frequently exposed to the most important Italian artistic, through exhibitions, retrospectives dedicated to him.

The work of Bruno Cassinari was always widely supported by the official critics, obtaining a great success, evidenced by the important commissions from private and public entities and institutions obtained by the artist. Through monographs dedicated to him can also, get an idea of ​​what was once the volcanic production of the artist, which ranged from painting to sculpture, passing through the illustration of books and graphic. Features the work of the female figures are Cassinari, landscapes and marine, built an essential feature heated and enriched by chroma. Starting with the attention to the Fauves el'Epressionismo German, gradually came to a Cubist-style language. He seems to ponder deeply on their productions, using color as a primary means of expression, both when it is lit in bright tones, is when it plunges into the darkest colors. His way of putting the colors in contrasting colors rather than combining them in a graduated, inevitably affects the viewer. His brushwork is determined, violence, builds layers of color forms through rapid, able to strike the minds, with what critics called "gesture-color".

Anna Catherine Bellati:
“The poetics of Cassinari with great attitude over time develops in the direction of the gesture-color defines the scope of the gaze. In the work of the fifties, the pronounced plastic sense that he had joined his pictorial form to that of the friends of current takes on a passionate virtuosity that was not there before. The form, while breaking up architecturally defined areas have upon the liquidity of the color that glides on and blends mark the boundaries of the real things. The connotation of the object loses importance. Thus the sea can turn into a sort of still life; the face of a woman has many eyes, but always the same stare as the world revolves around the, a horse gallops beyond the boundaries of design that traps, but his legs are locked forever in that movement of escape. In addition to the current end of the dream of a homeland Cassinari is its exclusive membership in which he has learned during his years as a permanent monument to the Brera is the history of Italian art and in some ways the European, but declined in a persistent, sometimes obsessively returning to one's heart. Gropparello, mother, Picasso, the sea. In a long wave that after more than twelve years after his death leaves a slight noise in the ears. Like a soft caress”.

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