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1912-26
Born in Milan on 17 July 1912, of Sardinian father and Emilian mother. His father Antonio,
an independent spirit gifted with a strong intellectual curiosity, ran away from home at
just sixteen years of age, travelling around Sardinia before settling in Sassari, where in
1894 he was one of the founders of the Socialist Party in that city. In 1896 he moved to
Milan; to survive, among other things, he moved about through the province with one of the
first travelling cinemas. After the popular uprising in 1898, repressed by General
Bava-Beccaris, he fled to Lugano, Switzerland, staying there until 1900, when he returned
to Milan and set up a small publishing house. An activist in the Socialist Party, he
printed political propaganda pamphlets. In 1911 he married Lina Pedretti. Because of
financial difficulties, in the early Twenties the family moved to Thiesi in Sardinia,
where he opened a fabrics shop. After about three years the Sassu family returned to
Milan, settling in Piazza Oberdan.
With his father the young Aligi begins visiting painting exhibitions, including a Futurist
show at the Cova. At just twelve years old, he purchases from a bookstall Pittura
scultura futuriste (dinamismo plastico) by Umberto Boccioni. Assiduously frequents
Milans libraries, enthusiastically reading Futurist texts and reviews (La Ronda
and Mafarka). After meeting the future designer Bruno Munari, together they decide
to introduce themselves to Filippo Tommaso Marinetti, who receives them very cordially.
In 1925 enters as an apprentice the lithographic workshop "La Presse" on Viale
Piave, where he learns the technique of lithography and meets the painter Natoli, a
contributor to the Domenica del Corriere and author of cinema posters. At the same
time he attends evening courses at the Brera, in a situation made difficult by debts and
the persecution of his father for being anti-Fascist.
1927-28
In 1927 visits the house of Fedele Azari, an eminent figure in the Futurist movement in
Milan, where he sees numerous paintings, drawings, and sculptures by Boccioni. At the
Futurist exhibition at the Galleria Pesaro in Milan, Marinetti shows several works by
Sassu, who the following year would sign with Munari the Manifesto della pittura
"dinamismo e riforma muscolare."
In 1928, during a Futurist meeting held at the Teatro lirico, where among other things
Russolos "noise-harmonium" is presented, Marinetti sustains the local
Futurists, including the sixteen-year-old Aligi Sassu, indicating him as a promising
figure for Italian art. That same year, Marinetti invites the young painter to the
Biennale in Venice, where Sassu shows two works: Nudo plastico and Luomo
che si abbevera alla sorgente.
1929-33
Attends the Accademia di Brera, where he meets, among others, Lucio Fontana, Nino Strada,
Candido Grassi, Luigi Grosso, Fabrizio Clerici, but soon has to abandon his studies for
economic reasons. Thus, at the suggestion of the painter Carpinetti he begins to attend
the Accademia Libera created by Barbaroux (director of the Galleria Milano) in a large
room at Corso Monforte 15. Besides Sassu, others working there include Renato Birolli,
Giacomo Manzù, Adriano Spilimbergo, Fiorenzo Tomea, who, in exchange for a painting per
month given to the Galleria Milano, could have free use of easels and models. The academy
only lasts a few months, however; even though he receives a large number of works,
Barbaroux is not satisfied with the economic results.
With Manzù Sassu rents a garret in Piazza Susa, to use as a studio: "It was terribly
cold," Sassu recalls, "and to keep warm we had to work. The furniture consisted
of an easel and a few stools, and the lighting was provided by candle stubs we got from a
sacristan we knew." They live by expedients; Sassu sells some works to architects
introduced to him by Eduardo Persico; also the family of the sculptor Grosso, the elderly
Tosi, and Giorgio Nicodemi buy some things. In spring of 1929, Sassu organizes a
collective exhibition in a workers club on Via Piero della Francesca; in that same
period he shows in a collective in the foyer of Teatro Arcimboldi, directed by the
ex-actor and future gallerist Ettore Gianferrari.
In these years, in antithesis to the ideals of the Novecento Italiano, he begins his
series of Uomini rossi and Ciclisti. In 1930, in a collective at the
Galleria Milano with Grassi, Manzù, Occhetti, Pancheri, and Strada, he shows landscape
and figure paintings. The show, presented by Raffaello Giolli, is a success and is
reviewed by, among others, Carrà in the Ambrosiano.
His taste for speed, but also for the athletes toil and action, amply witnessed by
his series of Ciclisti, for Sassu does not represent an abstract adherence to the
theme of movement, but is rooted in his very deep passion for cycling (he belonged to the
sporting club "Bonservizi Tonoli," participated in a number of races, and later
belonged to the Ciclo Club Lombardo). "As a boy," he recalls, "I was a
bicycle racer. It was my heroic time, I adored the rustle of the light tires on the
asphalt, the harsh odor of smoke, wetness, earth that I absorbed, my head tucked into my
shoulders, bending over the handlebars through the towns, the countryside, the loose
cobblestones in a sprint. Climbing up the hills at that time was dusty, exhausting work
under the sun. Only someone who has fought for a long time on the roads can understand all
of its poetry. I remember those years as a succession of long sprints along dusty country
roads, in the rain and the cold, because I even went out in the winter, I loved it
so."
In February of 1932 exhibits at the Galleria del Milione, with Birolli, Cortese, Grosso,
Manzù, and Tomea. The show arouses great interest, to the point that Sandro Bini, at the
time a young critic doing military duty in Florence, dedicates to Sassu a publication (Aligi
Sassu, fisime e nostalgie della critica) that is the first study of the painters
work. In order to meet Bini, Sassu rides his bicycle to Florence, where he visits the
convent of San Marco and the Uffizi, remaining deeply impressed above all by Paolo
Uccellos Battle of San Romano, a work which would have a strong influence on
his painting.
1934
Leaves for Paris in autumn (carrying in his suitcase rolled up paintings, drawings, even a
hammer and pliers to hang his pictures). He is the guest, on rue Elisée de Beaux Arts, of
a fitter who was the painter Facchinettis brother. During his stay there, lasting
about three months, he frequents the great museums, of course, and the Sainte-Geneviève
library, where he reads Delacroixs Diaries. In the museums he studies the
works of Géricault, Renoir, and the Impressionists; at the Galerie Paul Guillaume he sees
a Matisse show, remaining struck by the way the artist uses colour, which reminds him of
Delacroixs frescoes in Saint-Sulpice, where he goes "as on a pilgrimage"
every week, while the research of Surrealist and abstract artists the avant-garde
of those years seems not to interest him. A friend of the boxer Cleto Locatelli
European lightweight champion he often goes to gyms to watch the boxers work
out, and devotes numerous paintings and drawings to the sport. He meets, among others,
Magnelli, San Lazzaro, De Pisis, Campigli, Leonor Fini, Léger, Severini, and the critic
Lionello Venturi, to whom he shows some works, including I ciclisti. The writer
Antonio Aniante, the author in France of a biography of Mussolini, organizes for Sassu,
Tomea, and Francis Gruber a show at the Galerie des quatre chemins, but no works are sold.
In this period he begins painting his first Caffè, a theme suggested to him also
by the chain of Chez Dupont cafés recently opened in Paris.
An important witness to this first stay in Paris he would return the following
year, when he would have occasion, among other things, to see a large Cézanne
retrospective is given by a letter Sassu wrote to Raffaele De Grada in which the
young artist sums up in "pictorial" terms his impressions of the French capital:
"I am writing you to get in touch with a similar soul from this distance. Paris
soir. In the dark street I hear shouts among the sounds of the cars in the city, but
the memory of the usual places is biting. However, a strange voluptuousness seizes my soul
at being alone in this desert of stone and men, immersed in a purple sunset and the
dominant black of this romantic city. Truly romantic! Nothing is rational here, not even
thought, or perhaps the appearance is such that it pushes you to take in only the surface;
in any case here I only see reality as a mirage. A strange mirage in which things and
people are immersed, navigating between the heaps of proprieties and ways of doing things très
usées; it seems to me like Im immersed in a morbid and soft nineteenth century.
I cross the city, but the city is small. I recognize the landscape at every step. But
where will I find the chaotic city, the city of people, of immense crowds, the city of the
Pharisees devoured by anxiety and agitation, by speed and power, the endless city where
men confront each other face to face, the genius and the idiot, the madman and the
sage[?]. The city of panic drunkenness, the divine Dionysian city where the century is
expressed and the universe gets mixed up, where reality becomes a dream, immersed in
electric atmospheres, violently coloured, where nature is free as in a tropical jungle.
Where you are grabbed by the fever of the fear of being assaulting and of assaulting, of
being beast and hunter. The skies will change colour one day in azure, blue, and fire red
flames, with horses of white clouds in the cold sunsets of unknown cities." |
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1935-36
In this phase his artistic research distant from the prevailing values of the
Novecento Italiano struggles between romanticism (attention to the constructive
meaning of colour) and spirit of action (the heritage of Futurism but also a feeling of
unease with regard to reality), between classicism (attention to tradition) and a realist
spirit. It is just this problem of "realism" that prevails in his reflections,
not so much, or not solely, in terms of language but mainly in "social" terms,
as the search for a new relationship between artist and public. "I feel with
increasing intensity," writes Sassu to the critic Giuseppe Marchiori that the
problems of painting, today, absolutely cannot be solved on the level of a metaphysical,
or neoclassical, or neonaturalist experience... The needs of the masses, pushed away from
art by more than a century of a continual and exasperated slide, in precisely that
snobbish and intellectual sense of almost all modern artists, has led to this break; a
division not only of taste, but of precisely the social environment. This division in
taste between the public and the artist brings to the fore, first of all, a problem, that
of Realism, among many."
A first response to these problems is given, in this same year, by works like La morte
di Patroclo and La strada, whose subjects, one classical, the other realist,
are developed with the same critical spirit toward artistic values and the reality of the
Fascist regime. More direct and incisive is the Fucilazione nelle Asturie, also of
1935, which inspired by a miners strike in the Asturias repressed by the army
commanded by Francisco Franco constitutes a sort of manifesto of the European
opposition to Fascism. At the same time he begins his clandestine anti-Fascist activities;
his group, which includes also De Grada, Grosso, and Guttuso, is in contact with others
formed in Italy (Rome, Sicily) and abroad (Lugano, Paris). They meet in cafés or in the
homes of De Grada and Gabriele Mucchi, and receive clandestine newspapers and propaganda
materials. During the Spanish Civil War Sassu and his friends are intensely active,
distributing flyers and organizing demonstrations in Valtellina, around Novara, in the
factories and public places of Milan and Sesto San Giovanni.
1937
On the occasion of the success of the International Brigades against the volunteer Fascist
troops, commanded by General Roatta, in the battle of Guadalajara, Sassu and De Grada
prepare a text exalting the insurrection. The morning of April 6, OVRA police search the
painters studio, finding the text of a manifesto and the paper for printing it.
Sassu is accused of conspiracy, risking 24 years in prison. Arrested in the next few days
are Franchina, Grosso, Joppolo, Migneco, and Birolli; others are arrested in Genoa and
other Italian cities. Two days after his arrest, Sassu writes to his family: "My pain
is increased by the fact that they have arrested also my friends who are innocent of
everything. I think Ill be sent into exile, in any case I patiently await my fate,
but what I beg of you is that you not get upset and that you try to overcome this bit of
bad luck." After questioning, he is turned over to the Tribunale Speciale in Rome. As
his letters witness, detention puts a great strain on his physical and psychological
resistance, above all because he cannot paint, a subject on which he often dwells. On
April 13 he writes, "What will happen to me? ... This questioning obsesses me as the
waiting does, but time will throw its shadow also over this. After a period of time for me
so spiritually difficult and empty like this winter has been, this trial too is a hard
one. When I was just getting over a period of moral dissatisfaction, spiritual turmoil,
and artistic inactivity, and was starting to paint and to put in order the experience of
the works seen last year and everything nature has taught me, its hard to find
suddenly cut off all activity of the spirit because of a brutal fight with matter. But
perhaps that humanity, the sense of the human that until now has been missing from my work
will emerge from this trial purified of its residues of taste and museum learning. Only
now do I understand truly what is mans desire and his aspiration towards a freedom
of the spirit and the dominion over matter. I dont know what I can tell you, from
this bare cell, in which man becomes only a robot, with very few movements."
His forced abstinence from painting and intense desire to begin working again are
expressed with great bitterness in a letter of 20 April: "Prison is really something
for the nerves, like tempering is for steel. I think nostalgically and sadly of the two
unfinished pictures of cafés that I left and the landscape with two horses, where the day
before I was arrested I tried to put everything I could of aspiration toward freedom and
of human things, like in the café. When I take up those pictures again I want to take
them to a really great height; I feel certain that I will be able to do a lot this year if
I am able to paint; its been since I did the cyclists that I havent felt so
intensely the exigency of a new and concrete fact for Italian art, so sad, inhumane, and
distant from life and reality." Inactivity weighs on him again in a note of 1 June:
"What tortures me most is the fact of not even being able to work, to draw; doing
nothing, its not my habit to sit on my hands." Seven days later he writes to
his parents: "I have had a nervous collapse over the last few days, but it was
foreseeable and justifiable because of all I have been through waiting for the
unknown."
Toward the end of June he is transferred to Regina Coeli prison in Rome; the Tribunale
Speciale carries out a summary investigation, proceeding to question Sassu and the other
defendants. Newspapers and radio stations in Paris and London ask permission to send their
correspondents to watch the trial; Mussolini agrees, and between October 12 and 13 takes
place the only political trial in that period covered by the press in Italy and abroad.
For Sassu, defended by the attorney Maurizio Ferrara, the charges are subversion of the
order of the State; the trial ends with a guilty verdict for Sassu and other Communist
defendants (charged with preparing the dictatorship of the proletariat) and a sentence to
ten years in prison.
1938-40
Transferred into the prison of Fossano, in Piedmont, he passes his first fifteen days in
isolation, two floors below ground level. In the following months, from November 1937 to
July 1938, he lives in a dormitory with other political prisoners. To his great
satisfaction, he is given notebooks to write in and sketchbooks so he can draw. His notes,
besides marking his interest in philosophy (Croces Estetica is among his
favourite books), witness to moments of anguish, as in the following excerpts:
"Desperation... without passion and desire for nothingness and death. I have no
will... Death is better than living." Among these notes are also found some sketches,
including one of a hanged man, his face twisted and contorted, classical female nudes,
battles and landscapes. The drawings in his sketchbooks are more fully worked out, for the
most part of faces fixed on the sheet with realistic precision; the more than 400 drawings
from the eight months at Fossano show subjects in which he has always shown an interest,
like cyclists, historical and allegorical scenes, and a few self-portraits.
Although condemned to ten years in prison, on 27 July 1938 the king grants him the pardon
that his father Antonio has requested unceasingly.
Once out of prison, even though on parole and forbidden to exhibit in public, he continues
to paint opposition works, where the political metaphor is readily grasped: Spagna 1937
and La morte di Cesare (this latter canvas, when it is presented at the 1941
Triennale in Milan, for "security" reasons is hung in a minor room dedicated to
works from Sardinia), and various versions of the Crucifixion. At the same time, he
re-establishes contact with the group of artists and intellectuals (De Grada, Treccani,
Migneco, Bo, Quasimodo, Vigorelli, Anceschi, Sereni, De Micheli, Marchiori) who would give
rise to the Corrente movement.
1941-45
In March he shows at the Bottega degli Artisti a small gallery opened by Ernesto
Treccani at Via della Spiga 9 presenting 41 works realized between 1928 and 1934,
including Giocatori di dadi, Ciclisti, Dioscuri, Argonauti. In his introduction to
the show Luciano Anceschi speaks of Sassus paintings as "lyrics... an extremely
intense, high, absolute song." The exhibition is visited by, among others, Curzio
Malaparte, who buys a tempera. Another one-man show at the Galleria Genova in Genoa is
sold completely to a businessman from the port, while the show with Tomea at the Galleria
del Cavallino in Venice is not as successful in terms of sales.
For six months, between Milan and Cogoleto where he lives with his wife and
daughter he works intensely on Battaglia di tre cavalieri, a large (2 x 3
meters) canvas to be presented at the Premio Bergamo, but for political reasons the
painting is rejected by the secretary of the Prize committee with the excuse that it
doesnt fit through the door; however, two other works of his are admitted, a Caffè
and a Deposizione.
In 1943 he meets the industrialist Primo Minervino, who invites him to Zorzino, on the
lake of Iseo, to paint a fresco in his villa. Together with Minervino and others, he
carries out anti-Fascist and anti-Nazi activities; among other things, he is in charge of
maintaining contacts between the Fifth Army and the 53rd Brigata Garibaldi on Lake Iseo.
In the days of the Liberation he is in Lovere at the command headquarters of the 53rd
brigade when his sister informs him that an anonymous letter accuses him of revealing the
names of anti-Fascists during his questioning in 1937 at San Vittore prison. He goes armed
to Milan and presents himself to the command of the Brigate Matteotti, where he turns in
his weapons and his concrete anti-Fascist activities are recognized.
On 30 September 1945 the Galleria Ciliberti publishes a monograph of his work; on 4
October a one-man show opens at the Galleria Santa Radegonda, at the time one of the most
important in Milan. The event is reviewed in the Corriere Lombardo: "In front
of the street door at number 10, a crowd of painters, poets, writers, intellectual women
(alas!) and pretty girls assaulted the shaky elevator toward the "little heaven"
of a third floor. There was the inauguration lets abolish the word
vernissage! of the Aligi Sassu exhibition: 15 paintings from 29
to 45; 55 temperas; lithographs; sanguines. Carlo Bo, hieratic like Mallarmé in his
salon, presented Sassu, who with his wife on his arm accompanied the visitors through his
beautiful labyrinth of red, violet, green, blue."
This period sees the creation of numerous versions of Maison Tellier, a subject
taken from a short story by Guy de Maupassant. |
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1946-50
Opens in Valganna at the end of the war a small ceramics workshop, which he soon closes.
Tullio dAlbisola takes him into his own house for some months, where Sassu transfers
his painting world into ceramics: horses, horsemen, but also café scenes inspired by the Maison
Tellier series. With his careful attention to technique he studies enamels and tries
out new emulsions to highlight the various glazes. From the moment of these earliest
trials, some of his works foreshadow in both material and structure Art Informel. His
first ceramics production is shown in 1948 at the Galleria dellIllustrazione
Italiana, on Via della Spiga in Milan, and reviewed by Leonardo Borgese, who writes in Corriere
della Sera: "Aligi Sassu ceramist, a surprise only up to a certain point. With
his propensity for bright, intense colours, his propensity for the arabesque, his
propensity for the macchia, for decorative juxtapositions, it was logical that this
painter at some point would find release in the art of fire and enamel. Release is the
right word here. As an artist Sassu is possessed by a demon, he is sensual, turbid;
ordinary painting, in essence, was not enough for him. He needs to squeeze his material,
to feel it, to dig it out and blow it up. He needs for chance to help him and work with
him, magnificent artist, in making art. He needs to play. He needs to dare. But it is also
necessary that these daring deeds be contained, melted, incorporated into matter. A
justification is needed... And so here comes ceramic glaze that renders every colour
precious and precise, that permits every form of release and harmonizes it, that
justifies, purifies, crystallizes, clarifies every caprice, every attempt, every dare.
That makes even bad taste tolerable... We thus have the best Sassu that is for sale. In
his pots, statuettes, tiles appear more shining and brilliant (it must be said) all the
fine qualities of this Sardinian-Milanese painter without his faults showing through or
looming up."
He begins sculpting as well. In 1948 he exhibits for the third time at the Biennale in
Venice, presenting Cristo davanti al Sinedrio.
In 1950 paints the large fresco on the theme of labor, in the guest quarters of the mines
at Monteponi (near Iglesias).
1951-60
Organizes a large review of oils, temperas, and ceramics in the Museo Caccia in Lugano.
In spring of 1952 shows at the Galleria La Colonna in Milan, directed by Renata Usiglio.
In autumn of 1953 shows at the Colonna a series of landscapes and images of the port of
Savona. In summer of 1954 he participates for the fourth time in the Biennale in Venice,
where he presents, among others, I martiri di Piazzale Loreto, bought on that
occasion by Giulio Carlo Argan for the Galleria Nazionale dArte Moderna in Rome.
He continues to work in ceramics. In 1954 the young core members Baj and
Dangelo arrive in Albisola. Together with Fontana, Sassu is the protagonist of artistic
life at Albisola; here he decorates a large wall in a restaurant with Cronache
dAlbisola, a cycle representing the landscape, life, and personages of Albisola.
Part of the large painting (35 meters of masonite), finished in 1962, is cut up into small
pieces. He also realizes a mosaic of the promenade to the sea and, in nearby Savona, a
ceramic panel on the facade of Mameli school. Albisola grants him honorary citizenship
(along with Fabbri, Fontana, and Jorn) and awards him the "Golden Rose." In 1956
he travels to China at the head of a delegation of Italian artists, which includes
Antonietta Raphael Mafai, Agenore Fabbri, Giulio Turcato, Tono Zancanaro, and Ampelio
Tettamanti; they visit Peking, Shanghai (where he holds a show), Hangchow, Seyang, Canton,
and other towns. During the trip he takes notes and makes sketches from which he would
later make engravings; furthermore, inspired by the Chinese landscape he does a series of
works (including the large picture La nuova Cina) which he presents at the Galleria
La Colonna.
The next year he exhibits at the Galleria San Fedele in Milan a Via Crucis, and
participates in the International Ceramics Show in Nice. In Sardinia, after being away for
thirty years, he creates in the church of the Carmine in Cagliari a vast mosaic cycle
representing the history of the Carmelite order. In 1958 he paints a fresco on the theme
of peace in the Casa del Popolo in Valenza, in the province of Alessandria. His exhibition
activity is intense also in 1959-60 both in Italy and abroad. On the occasion of a show of
Sassus work at the Galleria delle Ore in Milan, Renato Guttuso recalls the Thirties
with Sassu: "The essential question for the young Sassu was to resolve his
oscillation between myth and reality, it was to "clothe" those nude men of his.
This whole period is dominated in Sassu by that swing back and forth, between a thrust
toward a generalization outside of time and the necessity of talking plainly about life
and reality (and his Socialist convictions are not extraneous to this). And so from time
to time his nude crapshooters, his nude concert musicians, his Dioscuri, wear
cyclists clothes, put on boxers shoes, lounge around the cafés of Milan and
Paris dressed in coat and tie. The backgrounds of red earth become mirrors, chandeliers,
velvets, the emerald greens of the leaves in the forests of love become a poisonous
mint selzer in the glass shaped like a chalice.
We debated, at the time, in Rome and Milan, about in-time and outside-of-time, about
symbols and blood, about men and half-gods. The echo still lingered on the air of De
Chiricos resounding sea: these were the years of Persico, Pagano, of
Bontempelli, Ciliberti, Giolli; of Quasimodos dead heron; of
Vittorinis red carnation. The years of our early liberating socialism,
of our first romantic conspiracies. We didnt distinguish science from utopia, or
Christ from Marx. This is the climate in which Sassus works were born, indicative
more than all the others of our passion and perhaps also of our confusion." |
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1961-70
In 1962 in Thiesi he paints a historical fresco, I moti angioini; in the room, now
called "Aligi Sassu room," on the same wall is a large stone mosaic figure, a
technique that would reappear in other works like the monument to the Corpo di Liberazione
of the Italian Army in SantAngelo in Vado (Pesaro), created in 1970 in collaboration
with his brother Francesco Sassu.
He makes a brief trip to North America, visiting in New York, among other things, an
exhibition of works by Fontana. On his return he does a series of works on the world of
the oppressed, inspired by spirituals; modelling for him often is the Colombian Maria
Helena Olivares y Medina, a respected soprano. In 1963 he purchases Villa Helenita at Las
Quigaloas on the island of Majorca. The contact with the nature and culture of the Spanish
island, besides brightening his palette still more, widens his thematic horizons: thus the
series of Tauromachie, shown between 1965 and 1966 in numerous Italian cities
(Milan, Verona, Udine, Venice, Florence, Rome, Genoa, Sassari, Palermo). Writing about his
Majorcan works with elegant, understated irony, Dino Buzzati says: "For Aligi Sassu,
renewed youth bears the name of Palma de Majorca: a terrible and special sun, terrible and
special colours (not too different from his fatherland Sardinia), churches flaming in the
noonday delirium, bullfights, bulls, toreadors, bulls, bulls, toreadors, wine, blood,
fever, death. As though he had undergone a transfusion of violent and vigorous blood.
Closed, for restoration, the horse farm. Opened, a bull farm. The bulls are black, purple
cataracts, smoking with muscles, flesh, and fury. And they burn in his paintings with the
desperation, wrath, and terror of the fateful hour. Good. If I were El Cordobés or El
Viti, I would fear only one thing: that the bull I was fighting this afternoon be signed
Aligi Sassu." The Nobel Prize winner Salvatore Quasimodo a friend
of the artist from the time of Corrente presenting an exhibition of his work in
Palermo highlights the fundamental nature of the Mediterranean culture underlying
Sassus choice: "Sassus solitude is thus not in the island, that is, in
the Sardinia of his childhood or the Majorca of his present happiness: like in another
French poet and like in Gauguin in him is a strong impulse to flee. Flee from
the errors and schemes of mechanical reality which in any case he has, and not so
long ago, tried to face and to assimilate by painting the groups of cyclists, which he
tried to deny with his surreal sequences of purple and green horses, and which today he
manages to forget in his Mediterranean retreat. On Majorca Sassu is not piercing the
Arcadian membrane of a romantic labyrinth but is scaling the harsh ramparts of the South,
a South intense not for a Faulknerian vigor where sense and species fought for a colonial
survival. The South of Aligi Sassu arrives as far as the beaches of the other hemisphere,
it runs along the earths crust to the Amazon."
In 1967 he moves to Monticello, in the Brianza area. In this period he dedicates a large
part of his activity to wall paintings; among these are noteworthy a station of the Via
Crucis and a Crocefissione (1961) frescoed at Arcumeggia; a fresco of San
Nicola esaltato vescovo dal popolo (1963) in the parish church in Nughedu San Nicolò,
in the province of Sassari; and a mosaic in the apse of the cathedral of Lodi (1964). In
1969 with a battle scene he wins first prize at the Biennale of the "painted
wall." He also does his first work as a stage designer, first for the theater (Il
muro del silenzio, 1961), then for opera (La giara, 1962), an activity that he
continues to do regularly alongside that of painter. At the same time he holds numerous
one-man shows; in 1965 he exhibits drawings and sculptures at the Galleria Civica in
Monza; in 1966 at the invitation of the Romanian government he holds an anthology
exhibition of 100 paintings in Bucharest; in 1967 he exhibits his Tauromachie at
the Galleria Trentadue in Milan; that same year he mounts an anthology exhibition at the
Galleria dArte Moderna in Cagliari; in 1968 he presents, once again at the Galleria
Trentadue, just three works, in three different styles.
In 1968 he creates a series of large paintings, including a Che Guevara donated to
the museum in Havana. In 1970 the Galleria Trentadue reproposes the cycle of Uomini
rossi (1929-33), in an exhibition that subsequently goes to other cities.
1971-74
With Fontana he shows at the Galleria Trentadue ceramic works made in Albisola; he also
participates in a travelling show of small Italian bronzes sponsored by the Rome
Quadriennale. In 1972 he prepares the designs for the stage sets and costumes of Cavalleria
rusticana performed at the Arena in Verona. He and Helenita Olivares are married.
In 1973 for the reopening of the Teatro Regio in Turin he designs the sets and costumes
for Vespri Siciliani, directed by Maria Callas and Giuseppe De Stefano. The
Vaticans newly inaugurated Galleria dArte Moderna devotes a room to his work,
in which among other things his large Deposizione of 1943 and the detached fresco Il
mito del Mediterraneo are installed. An intense period of graphic work follows, with
the Galleria Trentadue presenting a portfolio entitled I cavalli innamorati, a
series of 20 lithographs and aquatints inspired by poems by Raffaele Carrieri; a portfolio
of 15 etchings entitled Orlando Furioso is published, with an introduction by
Vittorio Sereni; the Galleria Portici in Turin exhibits for the first time the drawings
done in 1938 in Fossano prison.
1975
With the explorer Walter Bonatti, in October, he participates in an expedition in the
Amazon forest of Venezuela with the intention of reaching Salto Angel, the highest
waterfall in the world. In his travel journal Sassu notes: "We move forward through
the darkness of the Rio, until the moon comes out and accompanies us. We are all very
tired, also because we slept badly in the "conuco" of Laime. Its two hours
travel in the dark, moving slowly, among the fantastic black silhouettes along the Rio. At
times the moon lights us from the side, and it is a spectacle more fantastic than
sinister, and charged with expectation is our desire to reach something safe. Thirst
devours me, and we dream of dinners and lunches and foods and wines that at home are a
daily occurrence. This is an unknown world in which man, on a fragile wooden shell,
through the black waters and the blackest shadows of the forest, slides along in the
"curiara" in the anxious hope of recognizing the landing point of Kamarate,
where we arrive around 8:30." The journey is translated also into drawings,
watercolours, and paintings, some done on the spot, in which the landscapes, places, and
the sensations they aroused are defined in clear, intense colours.
Chosen to receive the Europe Prize and to paint the banner for the Palio in Siena. |
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1976-80
Creates two large mosaics for the church of S. Andrea in Pescara, where he had earlier
painted the chapel of Vatican Council II. Publishes the portfolio of six large aquatints La
via dellaurora, with poems by Rafael Alberti. The Prandi publishing house in
Reggio Emilia commissions from him an etching, a portrait of Sironi for its volume Lopera
incisa di Sironi.
In 1977 an exhibition of works from the Futurist period (1927-29) is installed at the
Centro Rizzoli in Milan; for the occasion Vanni Scheiwiller publishes the volume Sassu
futurista, by Luciano De Maria. He exhibits also in Rotterdam at a show on the theme
of the bicycle, and works on a portrait of Antonio Gramsci. Returns to Sardinia and paints
a small mural at San Sperate, and is granted honorary citizenship by Nuoro. Exhibits in
Toronto at the Madison Gallery, where he gives a series of lectures on Italian art.
Together with a journalist and a photographer, he travels to Cuba in 1978, drawing
inspiration from the trip for a series of pastels and paintings. In 1979 exhibits at the
Madison Gallery in Toronto 15 engravings entitled There Were no Signs, inspired by
15 poems by the Canadian poet Irving Layton. Illustrates the volumes A les illes by
the Spanish writer Baltasar Porcel and Torxes de pau by the Majorcan poet Miguel
Bota Toxto. The Italian publisher Vangelista and the Spanish publisher Guadalimar publish
the monograph Aligi Sassu nellisola ritrovata by Baltasar Porcel. On occasion
of the publication of the book the Galleria Trentadue presents the series of his most
recent Spanish landscapes. In the same period a large anthology exhibition is installed at
the Llonja in Palma de Majorca. In 1980 he designs the sets and costumes for Carmen
at the Arena in Verona, and presents at the Galleria Trentadue a large show on the theme
of Ciclisti, accompanied by the publication of a volume by Gianni Brera, I
ciclisti di Aligi Sassu.
1981-85
Moves from Monticello Brianza back to Milan, settling in the Brera neighbourhood. The
Accademia dArte "Dino Scalabrino" in Montecatini Terme awards him the
Premio "Vita dArtista," and in 1982 he is named one of the "Men who
made Milan great." In May at the Casa di Manzoni in Milan is presented an edition of I
promessi sposi illustrated by 58 of his watercolours painted in 1943. Donates to the
city of Sassari the fresco Il mito di Prometeo, which is installed in the Palazzo
della Provincia, where an anthology exhibition of his work opens, subsequently travelling
to the Pinacoteca Civica in Jesi. On this occasion he receives the Premio Rosa Papa
Tamburi. Priuli & Verlucca publishers in Ivrea issue the second revised edition of Il
rosso è il suo barocco. Exhibits at the Galleria Trentadue a series of new works
entitled Mitologia and the portfolio of seven graphic works inspired by Revelations.
In 1984 at Palazzo dei Diamanti in Ferrara is mounted an anthology exhibition of 111 of
his works, later travelling to Castel SantAngelo in Rome. In Seville he shows 135
works on the occasion of Italian Culture Week organized by Menendez Pelayo International
University; at Palazzo Reale in Milan is installed a large anthology exhibition with 270
works divided between painting, ceramics, sculpture, and murals. On this occasion the
artist donates a large sculpture to the city of Milan. Exhibits again in Germany in the
Stadthaus and Scheffel galleries in Bad Homburg, where he presents sculptures, some
paintings, and graphic works. In the same year the Catalogo generale dellopera
incisa e litografica is published.
In 1985 a travelling exhibition of I promessi sposi is organized in Canada,
presented first at the Istituto Italiano di Cultura in Toronto, then at the Museum of
Contemporary Art in Montreal and the National Library of Canada in Ottawa. Shows also at
the Juan Gris gallery in Madrid. In Piazza Tricolore is inaugurated a large monument to
the Guardia di Finanza, while for the centennial of the birth of Matteotti a show of Disegni
del carcere and political notebooks is held at Fratta Polesine. Two replicas of the
sculpture Cavallo impennato are purchased and placed in the garden of Palazzo della
Confcommercio in Milan and in Piazza della Repubblica in San Marino.
1986-95
Exhibits at Galeria Pelaires in Palma de Majorca. Is named "appuntato
donore" by the Guardia di Finanza, an honour awarded in the past to Giacomo
Puccini and Gabriele dAnnunzio. Presents three paintings at the XI Quadriennale in
Rome and at the show Il luogo del lavoro in the Triennale in Milan; exhibits 10
works from the Thirties at the exhibition on Chiarismo at Palazzo Bagatti Valsecchi
in Milan and the Casa del Mantegna in Mantua. After five years of work finishes the series
of 113 plates illustrating Dantes Divine Comedy; three are purchased by the
Pushkin Museum in Moscow.
In 1987 is named honorary citizen of Palma de Majorca. Prepares a large anthology
exhibition of works from 1927 to 1985 at the Museum of Contemporary Art in Munich; at the
same time, also in Munich, holds shows in the Ruf and Eichinger galleries. In Copenhagen
exhibits 58 watercolours from the I promessi sposi series. On the tenth anniversary
of the Piazza della Loggia massacre he shows in Brescia, at the invitation of the City of
Brescia and the Comitato Unitario Provinciale Antifascista, a selection of works
reflecting his political commitment, Dagli uomini rossi alle fuciliazioni. An
anthology exhibition Sassu. Il paesaggio is installed at the Museo del Paesaggio in
Pallanza and the city hall in Argenta, and at Castello Gizzi in Torre dei Passeri is
inaugurated the exhibition Sassu e Dante, in which are shown for the first time his
illustrations for the Divine Comedy. He celebrates sixty years of work with a large
anthology of 100 paintings at the Castello di Rivoli and donates to the Regione Piemonte
40 drawings made in 1938 in Fossano prison.
In 1988 an anthology exhibition of 90 works, paintings and sculptures, is held in the
prestigious Catalan Gothic building of the Llonja in Palma de Majorca. The following year
sees an anthology show at Palau Robert in Barcelona, a one-man show at Gallery Universe in
Tokyo, and an exhibition in Ravenna near Dantes tomb. The sculpture Cavallo
impennato, donated to the city of Milan, is placed in front of the Pinacoteca di
Brera. In the meantime he works on a large bronze to be placed in Merano for the 50th
anniversary of the Ippodromo Maya.
In 1990, contemporaneously with the publication of the volume Sassu scultore e
ceramista (opere 1939-1989), two shows are mounted in Milan and Rome. He receives the
"Lorenzo il Magnifico" prize in the Sala del Cinquecento in Florence and works
on four large stained glass windows for the council chambers of the city hall of Giussano.
In 1992, to celebrate his 80th birthday, a travelling anthology exhibition, containing 80
paintings, is organized for South America, with venues at the Museu de Arte in Sao Paolo,
the museum of modern art in Bogota, and the Centro de Arte y Comunicación in Buenos
Aires.
In 1993, after two years work, he finishes a ceramic mural measuring about 150 square
meters, entitled I miti del Mediterraneo, for the new headquarters of the European
Parliament in Brussels.
In 1994 the portfolio Manuscriptum is presented with engravings by Sassu, commissioned by
the Armand Hammer Foundation in Los Angeles for the travelling exhibition
"Leonardos Bridges," with venues in the three largest cities in Sweden,
where for the first time graphic works by contemporary artists are exhibited alongside
originals by Leonardo. Palazzo Foscolo in Oderzo is the site of an anthology exhibition,
and the show "Sessantanni di pittura" is held at the Galleria Civica in
Campione dItalia. For the Premio Bancarella in Pontremoli he exhibits forty
watercolours and illustrated books.
In 1995 works on two large sculptures: Nouredduna and Il dio Pan, exhibited
in San Marino. Named Cavaliere della Gran Croce by the president of Italy. Holds a show,
"Il sogno della poesia" at the Stamperia di Arancio in Grottamare. The second
volume of the catalogue raisonné of his engravings and lithographs appears, with
an extensive bibliography citing "Volumes illustrated with engravings or
lithographs," "Portfolios containing engravings or lithographs,"
"Sassus writings," and a list of articles appearing in magazines or
newspapers. |
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