Abstract
This article explores a selection of paintings made between 1947 and 1949 by Forma, a group of artists working in Rome. Declaring themselves Marxists and Formalists, Forma proposed their version of abstraction as an alternative to the realism increasingly dominant in Italian Marxist circles. Moving beyond prevailing notions of a debate between abstraction and figuration in post-war Italy, this article argues that Forma’s return to the theories of Russian Formalism can be understood as an attempt to renegotiate the legacy of Futurism as well as older histories of Italian painting. In conclusion, this article argues that the antithetical movements of rupture and return, that Forma’s art presents, can be identified as part of a Gramscian struggle for a new culture.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
