{"id":45356,"date":"2022-04-08T12:38:39","date_gmt":"2022-04-08T11:38:39","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/alberto-burri-on-fire\/"},"modified":"2022-05-06T14:20:15","modified_gmt":"2022-05-06T13:20:15","slug":"alberto-burri-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/fr\/alberto-burri-on-fire\/","title":{"rendered":"Alberto Burri – On Fire"},"content":{"rendered":"

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Vues d’exposition<\/h2>\n

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Oeuvres expos\u00e9es<\/h2>\n

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Combustione Plastica<\/em>, 1957<\/h4>\n

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Rosso Plastica M3<\/em>, 1961<\/h4>\n

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Grande Nero Plastica L.A.<\/em>, 1964<\/h4>\n

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Legno Sp<\/em>, 1958<\/h4>\n

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Plastica M1<\/em>, 1962<\/h4>\n

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Combustione<\/em>, ca. 1969<\/h4>\n

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Je prends le plastique et je le br\u00fble. Il n’y a rien d’al\u00e9atoire l\u00e0-dedans. Ce que je fais ici est la plus contr\u00f4l\u00e9e et contr\u00f4lable des peintures […] J’aime pr\u00e9server l’image de la combustion comme s’il s’agissait d’une combustion en cours.<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Alberto Burri, in M. Venturoli, Il pennello di fuoco, \u201cLe Ore\u201d, n. 32, 12 ao\u00fbt 1965<\/h4>\n

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La relation d’Alberto Burri<\/strong> avec le feu est n\u00e9e de son inspiration cr\u00e9ative et de sa formation scientifique, qu’elle a r\u00e9unies. L’artiste a fait remarquer : “Pendant longtemps, j’ai voulu comprendre la fa\u00e7on dont le feu consume les mat\u00e9riaux, comprendre la nature de la combustion et comment tout peut vivre et mourir dans la combustion pour former une unit\u00e9 parfaite”. Burri a expliqu\u00e9 qu’il avait tout d’abord besoin d’une surface sur laquelle disposer la composition….. Puis il a pos\u00e9 du plastique dessus et l’a br\u00fbl\u00e9. ”Rien n’est laiss\u00e9 au hasard. Ce que je fais ici est le type de peinture le plus contr\u00f4l\u00e9 et le plus contr\u00f4lable… Il faut contr\u00f4ler le mat\u00e9riau et on y parvient en ma\u00eetrisant la technique.”<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Alberto Burri<\/strong> est n\u00e9 \u00e0 Citt\u00e0 di Castello, en 1915. Il est dipl\u00f4m\u00e9 en m\u00e9decine de l’universit\u00e9 de P\u00e9rouse en 1940.<\/p>\n

M\u00e9decin dans l’arm\u00e9e italienne, il est captur\u00e9 par les Alli\u00e9s en 1943 et est prisonnier de guerre au Texas, aux \u00c9tats-Unis. Il d\u00e9cide \u00e0 ce moment d’abandonner la profession m\u00e9dicale pour se consacrer \u00e0 la peinture. \u00c0 son retour en Italie, en 1946, il s’installe \u00e0 Rome. En 1948, il abandonne d\u00e9finitivement la figuration au profit de l’abstraction et s’int\u00e9resse au potentiel expressif des mat\u00e9riaux bruts. En 1950, il r\u00e9alise ses premiers Sacchi<\/em> [sacs], \u0153uvres qui dominent ses expositions personnelles suivantes, organis\u00e9es dans diff\u00e9rentes villes am\u00e9ricaines et europ\u00e9ennes. En 1951, il fonde le Gruppo Origine<\/em> avec Mario Ballocco, Giuseppe Capogrossi et Ettore Colla. En 1952, il fait sa premi\u00e8re apparition \u00e0 la Biennale de Venise, \u00e0 laquelle il sera r\u00e9invit\u00e9 en 1960, 1964, 1966 et 1968. Entre 1952 et 1953, l’art de Burri attire l’attention internationale avec des expositions \u00e0 New York et Chicago.<\/p>\n

Au cours des ann\u00e9es 1950 et 1960, il cr\u00e9e diff\u00e9rents cycles d’\u0153uvres en utilisant le feu sur diff\u00e9rentes mati\u00e8res premi\u00e8res. Ainsi, les Combustioni<\/em> [Combustions], les Legni<\/em> [Bois], les Ferri<\/em> [Fers] et les Plastiche<\/em> [Plastiques] prennent forme. Dans les ann\u00e9es 1970, alors que son travail continue d’\u00eatre pr\u00e9sent\u00e9 lors d’expositions individuelles et collectives dans les mus\u00e9es les plus prestigieux du monde – dont le Museo Civico di Torino (1971), le Mus\u00e9e national d’art moderne de Paris (1972), la Tate Gallery de Londres (1974), la Galleria Nazionale d’Arte Moderna de Rome (1976) et le Solomon R. Guggenheim Museum de New York (1978) – il d\u00e9veloppe les cycles Cretti<\/em> [Fissures] et Cellotex<\/em>.<\/p>\n

En 1978, Burri cr\u00e9e la Fondazione Palazzo Albizzini Collezione Burri \u00e0 Citt\u00e0 di Castello. Dans ce b\u00e2timent, il exposait une collection permanente d’\u0153uvres sp\u00e9cialement choisies, dont l’installation \u00e9tait dirig\u00e9e par lui et reste inchang\u00e9e \u00e0 ce jour.<\/p>\n

En 1989, la Fondation Palazzo Albizzini acquiert les anciens Seccatoi del Tabacco \u00e0 Citt\u00e0 di Castello. Ces structures architecturales industrielles sont devenues les r\u00e9cipients parfaits pour les cycles monumentaux de peintures et de sculptures in situ cr\u00e9\u00e9s par l’artiste. Alberto Burri meurt \u00e0 Nice le 13 f\u00e9vrier 1995.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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