This retrospective is part of the series of exhibitions that Fondazione Prada has dedicated to artists — such as Edward Kienholz, Leon Golub and William Copley — whose practice developed al ong paths and interests that took a different direction from the main artistic trends of the second half of the 20th century. The aim is to explore Gnoli’s practice and his activity as a unique discourse free of labels , documenting links with the internati onal cultural scene of his time and highlighting affinities with contemporary visual research. Furthermore, “Domenico Gnoli” will expand on the insights of those who, in the past, interpreted the artist’s work from an original historical and critical viewp oint , recognizing the inspiration that he drew from the Renaissance and highlighting the narrative value of his works.
Conceived by Germano Celant, the exhibition brings together over 100 works produced by the artist between 1949 and 1969 and will be compleme nted by as many drawings. A chronological and documentary section featuring materials, photographs and other items will retrace the biograph y and artistic career of Domenico Gnoli (Rome, 1933 – New York, 1970) mo re than fifty years after his death. The pro ject has been realized in collaboration with the artist ’ s A rchives in Rome and Mallorca, which preserve Gnoli’s personal and professional heritage .
Grandson of Domenico Gnoli and son of Umberto Gnoli — both art critics and historians — Gnoli initially followe d two directions: his work as a theater set designer, costume designer and illustrator, and his pictorial work . In 1955 his sets for William Shakespeare’s As You Like It at the Old Vic in London had a great success an d made him known also in the United St ates. From 1959 , he lived between Rome, New York, where he exhibited in several galleries and worked as an illustrator for magazines and publications, Paris and London before settling in 1963 in Deià on the island of Mallorca .
In 1964, the year that Robert Rauschenberg achieved international recogn ition by winning the Golden Lion at the Venice Biennale, Gnoli took a linguistic leap that allowed his analytical painting to emerge alongside his accomplishments as a set designer and illustrator. In a le tter t he following year, the artist described this turning point in his career : “I have always worked [as a painter] as I do now, but it did not attract attention as it was abstraction’s moment. Only now, thanks to Pop Art, has my painting become comprehen sible. […] I always employ simple, given elements, I don’t want either to add or take anything away. I have never even wanted to deform; I isolate and represent. My themes come from the world around me, familiar situations, everyday life; because I never actively mediate against the object, I experience the magic of its presence.”
From that moment, his trajectory intersected the currents of minimalism, hyperrealism and Pop Art, even if, as the French writer André Pieyre de Mandiargues observed , “Gnoli’s manner of painting […] illuminates as much as it desc ribes the mundane objects by which man is surrounded. In the true sense of the word, it illustrates them, whereas the manner of pop artists popularizes them.” Gnoli also felt part of a “not eloquent” trad ition of Italian painting developed by Masaccio and Piero della Francesca, and passed down via Piranesi, de Chirico, Carrà, Severini and Campigli. His work was also influenced by great contemporary artists like Bacon, Balthus, Dalí , Magritte, Shahn and Sutherland .
As Salvatore Settis explains , “ To achieve perfect ineloquence, the impassiveness of things and the suspended magic of an impersonal reality, he had to turn his back on the tradition he loved so much and overturn its hierarchy of values. To deny ‘ decor ation ’ by means of a new exploration of realit y through detail. ” Gnoli’s new line of research detached from the context and focused on details of human bod ies or object s , accentuating their inherent sensuality and energy .
His precise painting of phy sical texture , one that brought out the surfaces, colors and substance of organic and inanimate elements , is also characterized by scrupulous photographic framing . It is a factual approach that “ puts all things, natural and artificial, on the same plane, e xpress ing an egalitarian desire, the revenge of insi gnificant and disqualified elements in the ranking of values: the low, the secondary, the auxiliary, the neglectable, ” as Germano Celant observes . The unexpected appearance on the canvas of apparently inc ongruo us elements, such as busts , locks of hair, shoes, armchairs, drawers, ties and buttons, gives the viewer a slight mental jolt. It is an invitation to fill out these mysterious images, a combination of reality and imagination, placed at the center of “ a sensual and carnal theater where the continui ng exchange between things and bodies is enacted, the protagonists of a total complicity. ”
Created by the design studio 2×4 in New York, the two – floor exhibition setting inside the Podium harks back to 20 th – cen tury museum environments by tracing linear perspectives that divide the exhibition space into a series of monographic units. The artist’s works are arranged in themed series that reveal how each painting generated other works following a logical developmen t of expression. Packed with significance, the details that Gnoli painted suggest enigmatic biographies of the objects represented and testify to the artist’s conviction in pursuing his own research in a radical reinterpretation of classical representation.
The exhibition is accompanied by a scientific publication published by Fondazione Prada and designed by Irma Boom . The book features a new essay written for the exhibition by Salvatore Settis and two parallel illustrated chronologies that set Gnoli in the historical and artistic time in which he worked , providing a reconstruction of the artist’s career and biography