Arturo Carmassi, Lucca 1925 – Fucecchio 2015.
He moved to Turin at a young age, where he studied and successively began to work. Curious about the art world and influenced by cubism, he visited many European capitals such as Zurich, Berna and Paris, where he lived for a short while before moving to Milan. By the end of the 40s the artist had already begun displaying his works in some personal exhibitions around galleries in Turin like il Milione, obtaining good critics reception.
He moved to Milan in 1952, working in the Brera neighborhood and, the same year he participated in the XXVI Biennale Internazionale d’Arte a Venezia. These years were characterized by notable success for Carmassi’s activity, who displayed in collective and personal exhibitions in national, public and private galleries, winning prizes such as the “Premio Nazionale di Pittura Golfo della Spezia”. In the same period he displayed in Switzerland, Germany, San Paulo de Brazil and New York.
Between 1955 and 1965 he focused in particular on sculpture, creating large-scale artworks that permeated with prominence a hall at the Venice Biennale in 1962.
During this time, Carmassi’s artistic expression mutated: from an informal abstraction it changed direction aiming at the re-appropriation of representation of landscape and figure, a shift that coincided with a retreat in the Tuscan countryside, between Florence, Pisa, Lucca, and Torre di Fucecchio.
At the end of the 1970s he consolidated sculpture as his main expressive system, also taking an interest in lithography and chalcography. It is through important monographs in which his various artistic techniques are presented, that he is identified as one of the artists whose name is worth a mention on international level.
In 1986 the Accademia di Francia in Rome dedicated him an exhibition, “Museo dell’immaginario di Carmassi” (Carmassi’s museum of immagination), where his recent works shared the space with the ones by illustrious artists from the past (Dürer, Redon), the present (De Chirico, Picasso, Kandinsky, Mirò) and from African and oceanic cultures.
During the last decade of his life, Carmassi put his expressive language into a sort of simplification, eliminating any superfluous elements and reconfirming an extremely actual work.