Ennio Morlotti was an Italian painter of the Corrente de Vita movement started in Milan as a counterpoint to nationalistic Futurism and the Novecento Italiano movements. His figures show an affinity to the geometry of Cezanne and Matisse, but later works introduce elements of abstraction.

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A clerk in a Milanese bank until he was twenty, he started taking evening classes at the Brera Academy in 1947, and enrolled for the Academy’s regular courses three years later. He studied painting under Aldo Carpi and engraving with Benvenuto Disertori, graduating in 1954. In the second half of the 1950s he took part in the group exhibitions of the artists who belonged to the Realismo Esistenziale movement, becoming one of its undisputed protagonists. Through the American gallerist Charles Feingarten, he organized solo exhibitions in Chicago (1955, 1956, 1958, 1959), San Francisco (1959) and New York City (1960); he also displayed his works at the Venice Biennale in 1960, 1964 and 1972. Shortly after Guerreschi’s death, Renato Barilli devoted a retrospective to the artist, which opened in December 1986 at the Rotonda di Via Besana, Milan.

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Saroni was a student of the Albertina Academy of Turin .

Exponent of the so-called "naturalistic informal", he exhibited at the Venice Biennale in 1956 , in 1958 and in 1962 . Still in 1956 and 1958 he won purchase awards at the fourth and sixth edition of the Spoleto Prize .

In 1963 one of his works was exhibited at the Contemporary Italian Paintings exhibition, set up in some Australian cities [1] .

In the same year he participated in the international exhibition of the New Figuration in Florence ; he exhibited at the exhibition Mythologies of our time , in 1965 , in Arezzo .

Teacher at the Art School, he then obtained the chair of painting at the Albertina Academy, of which he became director, promoting, among other things, the reopening of the Albertina Art Gallery .

He died in 1991.  

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Turcato left Mantua and attended the Venice Academy’s school of nude studies in the early 1930s before moving to Milan and finding work in the firm of the architect Giovanni Muzio in 1937. Pulmonary illness led to frequent stays in sanatoriums. Having taken up painting, he found stimuli in the Cubist art of Pablo Picasso. His long participation in the Venice Biennale began by invitation with the 23rd Esposizione Internazionale d’Arte della Città di Venezia in 1942. He then moved to Rome a few months later and joined the Resistance. A signatory of the manifesto of the Nuova Secessione Artistica Italiana in 1946, he was a founding member of the Marxist-leaning, abstract art group: Forma 1 in 1947, with Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato. In 1948, he helped found the Fronte Nuovo delle Arti. His art is abstract with expressionist overtones. The decision of the Venice Biennale to devote a room exclusively to his work at the 29th Esposizione Internazionale d’Arte della Città di Venezia in 1958 contributed to his international renown. He took part in Documenta II the following year and joined the Continuità group in 1961.

Courtesy of Cerbera Gallery