Massimo Pulini (born 1958)
Enamel, radiography and mixed media on board.
150 x120 cm (approx 59 x 47.2 in)
"Diacromie & Dialogues" R. Pittelli, The Italian Institute of Culture, with an introduction by Sir Denis Mahon London, 2006; "Solve et Coagula" G. Papi 2003; "Il Museo Sonnambulo" L. Fornari Schianchi 1999; "Tempestas de Memoriae Ruinis" Claudio Strinati - Maurizio Calvesi 1997; "Nero d'Avorio" Sabrina Foschini 1992; "Massimo Pulini" P. Portoghesi 1989; "Massimo Pulini" I. Tomassoni, Perugia 1984.
This Painting is within Pulini's phase called Phosphenes "FOSFENI" which is based on enamel coloured works treated with thermo graphic applications, a technical process to determine temperature degrees within an object or a body, and translating them in a chromatic scale.
Indigofera Decora is a dense, spreading shrub and grows 2 to 3 feet tall. Summer foliage has bright green arching branches. It originates in Japan and central China where in ancient times it was a symbol of immortality.
The strong coloured seas of paint, that Pulini's paintbrush leaves to settle and coagulate amongst themselves, evoke vital temperatures in the reconstruction of faces and human bodies. Heads of women and men that, notwithstanding the pictorial magma and the formless material, still reveal the distinct introspection of a psychological portrait whilst, at the same time, obtaining an internal abstraction in shape. However, the Painting, which was created by Massimo Pulini for Tate Britain, is heavily influenced by the "Anachronism" early work of the artist, a conceptualism based on a technique of "superimposing" of images which characterized his work throughout the 1980s and 1990s.
Massimo Pulini was born in Cesena, Italy in 1958 and started exhibiting his work in 1977 with a revolutionary display of art relics in the desecrated church of St Lucia in Bologna. He worked in Paris and exhibited at the Galerie J.P. Lavignes in 1983. In parallel, he begun to undertake an extensive research and study of Baroque Art, achieving increasing recognition as an art historian in Italy and in Europe. His interest in such historical investigations is evident in his work during the eighties and nineties when he published extensively and exhibited throughout Italy. His style has been defined as "Anachronism", a conceptualism based on a technique of "superimposing" of images, in dialogue with one another; his paintings being foremost on a blackboard base or, if painted on canvas, on a dark background against which images emerge in a brilliance of ivory black light.
The relationship between glance and thought, between warmth and colour is the groundwork of Massimo Pulini's more recent works, a singular figure unifying an artist, a writer and an art historian. As the latter, Pulini published extensively and held prestigious assignments, most notably teaching History of Art at Bologna and Milan Universities.
The series of paintings, from which our present one originates, were published in two catalogues (Romberg Editions) on the occasion of an exhibition at the Italian Institute of Culture in London (November 2006) with essays by Gianluca Marziani and an introduction by the late Sir Denis Mahon, the distinguished art historian and critic, with whom Massimo Pulini co-curated the exhibition "GUERCINO. Poesia e sentimento nella pittura del Seicento" held at Palazzo Reale in Milan, 2006 and at the Ala Mazzoniana, Grandi Stazioni in Rome, 2007.