Manlio Bacosi - Untitled

The work shows a strong Expressionist tendency, emphasizing the expression of emotions. Expressionist art seeks to shout its moods to the world and display them passionately. Formally, this translates into a sketchy rendering of figures, through a very nervous and dynamic line, as well as the use of a bold color palette. Such characteristics are found in the historical avant-gardes of Expressionism: Fauvism and the Die Brücke movement in Germany. In the case of Manlio Bacosi, his Expressionism does lead to a highly pronounced synthesis of the subject, but one carried out within a minimalist stylistic register. We
can clearly see this in his interpretation of a portrait, in which physiognomic detail almost completely disappears, giving way to a collection of signs with a high symbolic value.

In this figure created by Manlio Bacosi, we can appreciate how the artist, in moving away from the subject of the landscape, definitively abandons any relationship with perceptible reality to give life to a complex representation, entirely determined by the artist's subjectivity. Although Bacosi leaves the viewer some clues to help them understand the image, even including a few figurative elements, albeit highly synthesized (the eye and the mouth). For the rest, the subject is constructed through a system of pictorial signs and gestures, always marked by a minimalism typical of Bacosi. The figure then becomes powerfully iconic, laden with symbols and enigmatic messages that are not always understandable, as is characteristic of the complexity of human nature.

Manlio Bacosi was a painter originally from Perugia, born in 1921 and passed away in 1998. He studied under the guidance of Leo Ravazzi and Gerardo Dottori. From 1947 onwards, he was the protagonist of numerous exhibitions not only in Italy but also abroad. Among the most important are the 1972 anthology exhibition in Todi and his solo exhibitions in Recanati for the Leopardian Events and in Montecatini in 1975.

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