-The Figure in the “world of Biography”

The section presents a wide selection of works mainly on paper and of small dimensions which, already from the beginning of the first half of the Forties and for the successive decade Tancredi followed constantly and without interruption of continuity. These are the witnesses and the “Portraits” of the people who restore to the public the intimate and personal context of the artist. Going from the Portrait of a Roman Brother (Ritratto del Fratello Romano) from 1946 to that of the  the painter Romano Conversano from the same year, to portraits of Venetian friends, such as the architect, Bellavitis, the friends from Feltre, to family members, Venetian colleagues, and journalists and critics such as Sirio Musso or Berto Morucchio.
This section brings back to life a “world” and an intimate image of the life-experiences of the artist, illustrating the context and presenting the faces of the “companions of the street and of the adventure” in the art world.
The section also has on display a selection of the self-portraits of the artist creating a real and true “gallery of faces and people” linked to the biography and the important autobiography of Tancredi.


-The Concrete Thought of Painting

In 1949 Tancredi held his first personal exhibition at the Sandri Studio, presented by Virgilio Guidi.
In the summer of 1950, it is to Rome we travel in a journey rich with stimuli and suggestions, where he stays as the guest of Milton Gendel. This section represents the rare juvenile attempts in the style that is defined as “concrete neoplasticism” together with the work on paper of 1950-1951: the years in which in his painting can be seen the new illuminating discovery of the Space and Movement of Spatialism of which the first attempts and posters signed by Tancredi are displayed.



“In 1951 I painted a painting that I called Spring (Primavera)” writes the artist. This section includes an important selection of the research which Tancredi undertook in the early part of the Fifties. To place it in context, a discussion of the contemporary works on paper is presented which marked his meeting with the patron Peggy Guggenheim to whom, precisely in 1951, he dedicated an early work.

-The International Adventure: Tancredi with Carlo Cardazzo and Peggy Guggenheim

This section gathers together some of the most important “mature” works of Tancredian Spatialism, and the excellent proofs of his multi-form exercises. It was a particularly happy time for the artist, who realised paintings for his solo exhibitions in the galleries of  Venice, Milan and Rome, and in doing so made his entrance into the most prestigious international collections. Aspiration to New York, Nature=Space and other true Tancredian masterpieces constitute the heart of this central section.


-Europe and the World

Thanks to the important critic Michel Tapiè, Tancredi was invited in 1955 to the major exhibition “Tendances Actuelles” at the Kunsthalle in Berna. Almost as if by fate, this new international commitment occurred at the same time as a distancing from the American art patron Peggy Guggenheim (who, however, would follow and help his work until the end of the fifties) and opened a new phase. The section includes the paintings completed between 1955 and 1959 with the extraordinary series of works entitled “A proposito di Venezia” (About Venice), the city that the artist definitively left in the Spring of 1958. It includes the important paintings exhibited at various international openings, the cycle “Natura” (Nature), the exceptional ceiling completed for the Venetian restaurant Alla Colomba, the works exhibited in the New York Saidenberg Gallery and the Paul Facchetti Gallery in Paris.
A part of the section is dedicated to a comparison with international artists who exhibited alongside Tancredi or participated in collective exhibitions in the same period. Among whom are Mario Deluigi, Hans Hartung, Georges Mathieu, Mark Tobey and Wols.


-“Of Sorrowful Jokes … with a bit of the Ridiculous”

Between 1959 and 1960, we find the grouped and at times grotesque sketches of the “Facezie” and of paintings in which the metamorphosed figure is represented. Tancredi’s Swedish sojourn, his love of Nordic painting and the grotesque are enriched by the dramatic and colourful notes of Munch, of the new figuration and of the almost revolutionary irony which he shared with his friends of the Anti-Procès movement. In 1961 he held his important solo exhibition at the Ariete Gallery in Milan. In the section, the artistic sketches for the “Facezie” and some of his paintings up until 1961 are gathered.


-“Paintings by me and by others”

This section presents some of the large canvases painted up until 1962/63, the year in which the Tancredian adventure took a different and profound turn. These are the “Diari paesani” and the “Fiori Dipinti da me e da altri al 101%” (Flowers Painted by me and by Others to 101%), works of a dramatic happiness and originality. Immersing himself in the climate of the new American painting, Tancredi did not copy the construction but, provocatively, he stripped it of that rhetoric and of that almost institutional approach which the same American artists obtained immediately afterwards with their triumph at the Venice Biennale of 1964. These works, among the most surprising of his career, make up one of the highlights of the exhibition.

-“I don’t know how to write, perhaps I’ll manage to paint what I feel”

Often ignored by the market and by critics, the small works on paper of the last years of the artist’s life are instilled with the essence and, irresistibly, pay witness to that “feeling”, the tiring and suffering, and yet sublime, life-story and artistic journey. These “Crazies”, from the paintings in which monstrous and torn figures appear to the final drawings of magnificent figuration, extremely fine figuration, created between Milan and Rome, make up the last and extremely powerful section of the exhibition.

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