Luigi Veronesi | Original prints, lithographs, etchings and illustrated books
Luigi Veronesi (Milan, 28 May 1908 - Milan, 25 February 1998) was an Italian painter, photographer, director and set designer.
Born in Milan, at the age of 17, thanks to his father's darkroom, he began to analyze and explore the creative potential of the frame.
In the twenties he began his artistic career, attending a course in textile designer, and at the same time he carried out research in the photographic field which allowed him to obtain, through certain techniques, dense images of originality. It was introduced by Raffalle Giolli in a group of intellectuals associated with the magazine Poligono. At the age of 20 he began to take an interest in painting by studying at the Neapolitan painter Carmelo Violante, then a professor at the Carrara Academy in Bergamo.
He took part in the first collective exhibition of abstract art in Italy, on 4 March 1934 in the painters' studio Felice Casorati and Enrico Paolucci in Turin, with the artists Oreste Bogliardi, Cristoforo De Amicis, Ezio D'Errico, Lucio Fontana, Virginio Ghiringhelli, Osvaldo Licini, Fausto Melotti, Mauro Reggiani and Atanasio Soldati, who signed the "Manifesto of the First Collective Exhibition of Italian Abstract Art". He took part in the Milan Triennale in 1936. In the same year he took part in an exhibition of abstract art in Como with Lucio Fontana, Virginio Ghiringhelli, Osvaldo Licini, Alberto Magnelli, Fausto Melotti, Enrico Prampolini, Mario Radice, Mauro Reggiani, Manlio Rho and Atanasio Soldati . The catalog contains a presentation written by Alberto Sartoris. Still in 1936 he is an illustrator of the "Quaderno di geometria" by Leonardo Sinisgalli. In 1939 he presented a personal exhibition in the L'Equipe Gallery in Paris. In that same year he published "14 variations on a pictorial theme" with a musical commentary by Riccardo Malipiero, launching a profound analysis of the relationships between musical scales and chromatic scales, with particular interest in twelve-tone music.
In Milan, in 1932, the Il Milione gallery hosted his first figurative-type creations: later, he began his personal research in the field of abstract art.
In Paris in 1932 he established relations with F. Léger and became interested in Russian and Dutch constructivism, abandoning the figurative structure of his early years and tackling research in the field of abstraction of geometric tendency. In 1934 he joined the Parisian group Abstraction-Création, he knows the experiences of Swiss constructivism and adheres to the Bauhaus method: the "lesson" of Wassily Kandinsky will be decisive. Participate in the exhibition Abstract Art Concreta Arte in the Palazzo Reale in Milan. Very active first in the theater and then in the cinema, with a total of 6 experimental and abstract films made, of which 4 completely lost, while of the others only short non-projectable clips remain (the first dating back to the 1940s) . During the war he uses his knowledge of graphics and design and becomes a forger for the National Liberation Movement (see bibliography 1). After the war he was co-founder of the photographic group La Bussola. He works for many years as a graphic designer and advertiser, and some of his frames become covers for magazines such as Campografico and Ferrania. In 1949 he joined the MAC - Movement for Concrete Art - participating in the exhibitions of this movement founded in Milan in 1948 by Atanasio Soldati, Gillo Dorfles, Bruno Munari, Gianni Monet.
He continues to be interested in music, creating a multi-dimensional art as a global project, deepening his research on the mathematical relationships of musical notes, translating them into the tonal relationships of color. It thus creates numerous chromatic transpositions of musical scores. At the end of the nineties, these researches were developed by the musician Sergio Maltagliati. For his scientific research on color, color perception and music in the seventies (1973-77) he was called to the Chair of Chromatology and Composition of the Academy of Fine Arts of Brera.
He actively participates in most of the exhibitions of those years, such as the exhibition of Italian abstractionism at the XXXIII Venice Biennale, the Contemporary Music Festival and a solo exhibition at the Spatia Gallery in Bolzano in 1980 and another in Pordenone in 1984. In 1983 receives the Feltrinelli Prize of the Accademia dei Lincei for painting. In 1987, together with Maria Lai, Costantino Nivola, Guido Strazza realized the artistic project of the Lavatoio Comunale di Ulassai in Sardinia. In 1989 Luigi Veronesi co-authored, with Giancarlo Pauletto, a book on the artist Genesio De Gottardo. Also in the eighties he designed various sets for the Teatro alla Scala in Milan; the sketches of the scenographic work are permanently in the Theater Museum. His activity as a set designer was also marked by his interest in investigating the relationships between sounds and colors through visual transpositions of musical frequencies.
He died in his hometown in 1998.