TURCATO Giulio, Iridescent pink, '70, acrylic and mixed media on canvas, cm 70x100. The work is authentic from the Archive Turcato.

 

Giulio Turcato (1912-1995, IT)

Born in Mantova in March 16, 1912 by Charles Turcato, Commissioner of the Royal Store of salt and tobacco monopolies, and Margaret Sartorelli. In 1920 he moved with his family in Venice, where he attended the Academy from time to time or rather the school of the nude, because it circumvents the family always in his artistic choice.

In 1934, during military service in Palermo, feels the first symptoms of lung disease that will mark much of its existence. That same year, this is the IV Exhibit, within the group of Venetian artists selected by the ENPI. In 1937 he moved to Milan, where he fell sick often passes through several hospitals, but still managed to achieve the architectural perspectives for the architect Muzio of Milan, to set up his first solo exhibition and to come into contact with the group of power without join.

In the years 1942-43 teaches design at a college starter and Portogruaro professional debut XXIII Biennale with the work of Motherhood. Attilio Podesta commented: "In the competition for works inspired by the moment is still worthy of note: the Motherhood of Turkey, which refers to Birolli. He travels occasionally to Milan in the company of Emilio Vedova.

In 1943 he came to Rome, where he was attending the Fourth Quadrennial and an exhibition at the Gallery of the Zodiac, with Vedova, Donnini, purified, Leoncillo, Valenti and Scialoja. That same year, once at the "bell", and then start a new chapter of life and art of Turkey: its involvement in the Resistance, and after the Liberation, the final transfer to the city. From that moment, his artistic activity is closely tied to social and political, which culminated in the inscription to the Italian Communist Party.

In 1945 the publishing house Sandron (Roma) license volume Interviews fraud in which Marcello Venturi, noting a few moments of the artistic life of Rome, speaks of Turkey, drawing a personal portrait. In the same year joined the "Freedom of Association of Visual Arts" and to 'Art Club "by Prampolini and Jarema, contributing to most of the exhibitions of the association, in Italy and abroad.
On the occasion of an exhibition at the Gallery of the Age of Rome agrees with Corpora, Fazzini, Guttuso and Monachesi a manifesto of neo-Cubist, published by "The Literary Fair" in 1947.
At the end of the year went to Paris with Accardi, Attardi, Consagra, Maugeri, Sanfilippo and Vespignani, remain strongly impressed by the work of Magnelli, Picasso and Kandinkij.
On March 15, 1947 signed in Rome by Accardi, Attardi, Consagra, Dorazio, Guerrini, Perilli and Sanfilippo (with whom he attended on a study of Guttuso Margutta) the manifest form, which was published in April in the first and only issue of "Form ", where it was also his article Crisis painting.
In the summer of participating in the first exhibition of the "New Front of the Arts" at the Galleria Spiga: the exhibition is its official accession to the movement. In October he exhibited with Consagra, Dorazio, Perilli Guerrini and the Art Club of Rome: the exhibition is considered the official release of Form. With the same group and the critic William Peyrce must then, in November, the wall newspaper from Cagli Cagli to protest against the text of Antonello Trombadori published in the exhibition catalog by Corrado Cagli at the Galleria La Palma in Rome.

Several episodes feature his life story in 1948, makes trips to Milan and Venice, Poland, and participates at the Fifth Quadrennial in Rome and the Venice Biennale.

In 1949 he held numerous solo in Milan, Rome and Turin, and his painting Uprising (1948) became part of the collection of the Galleria Nazionale d'Arte Moderna in Rome.
In 1950, stays back to Paris, where he was able to meet Manassier, and Michel Pignon Seuphor. With works inspired by social issues involved in the Venice Biennale. The following year the Prize Taranto and its small port became part of the collections of the Palazzo del Quirinale.
In 1952, Afro, Birolli, Corpora, Moreni, Morlotti, Santomaso, widow, became part of the "Group of Eight", sponsored by Lionello Venturi, with whom he exhibited at the Venice Biennale.
Holds a staff at the Chest of Rome (11 paintings), accompanied by a text catalog of Enrico Prampolini. Participate in design collective dedicated to traveling the United States.

He became an assistant professor at the Art Academy of Figure in Rome in 1953 and has a solo show at Canal of Milan and speaks at debate on Tradition and Modern Art opened the pages of "realism" in the month of February. Back to the XXVII Venice Biennale with an intensive writing Emilio Villa, who appears on "Visual Arts".
In 1955, Carrieri speaks of Turkey in volume leading-edge painting and sculpture in Italy. He exhibited at the Quadrennial Romana (Galleria Nazionale d'Arte Moderna in Rome acquired a grating).

In 1956 he travels to the Far East via Moscow to arrive in China, where in June with exhibits Sassu, Tettamanti, Zancanaro, Raphael and Fabbri Five Italian painters in the exhibition in China. Significantly and in the course of '57, the interest from the critics for his work in '58 and the Venice Biennale order his personal room, which includes eleven o'clock in the catalog products brought from Palma Bucarelli.

In 1959, Giulio Carlo Argan and Nello Ponente consider his work in art after 1945 and is the second edition of Documenta in Kassel. Together with other artists decide not to attend the Rome Quadrennial in protest against the organization and the governing bodies that govern and, during an interview, explaining the reasons for his decision. Signing an article titled Conformity: mental laziness, which appeared in May on the pages of "Art Today", which speaks of the positions taken by contemporary painting.

Since 1960 he exhibited with Novelli, Perilli, Dorazio, Consagra, Bemporad, Gio and Arnaldo Pomodoro in continuity of the review entitled, promoted in several galleries Italian by Giulio Carlo Argan.
In the 60's along with an exhibition and Ajmone Dova at Bottega Art of Leghorn, and one of his writings appear in the volume Crack. Two personalities, one at New Vision Center Gallery in London and another at the Canal of Venice, are held in the course of '62, during which Gillo Dorfles talks about his work in the book devoted to the latest trends in art today.
In 1963, Emilio Villa returns to take care of him and provides the staff at the Turtle Rome. Also stipulates with Dorazio, a contract with the Marlborough Gallery in Rome and celebrate the event giving away a trip to New York as a mere tourist.

In 1964 he marries the filmmaker Roman Vana Caruso, exposes the lineup of Catania and the sign of Rome.
The year after participating in the Quadrennial in Rome, winning the prize of the Presidency of the Council and shall be convened for the first festival dedicated to celebrating Form 1.
In 1966 Maurizio Calvesi under "two vanguards" and Maurizio Fagiolo in "Value 60" talk about his painting, while in the care of the western text accompanying his personal room at the Venice Biennale, showing, among the 13 works on display, different foam.

In 1969 he was in Frankfurt, where, during a staff to the Main Gallery DIV, Werner Haftamann retraces some stages of his career during a conference. In the seventies his exhibition intensifies: Schubert's personal Boni in Lugano and Graphics Romero in Rome in '72 has a personal room in the Venice Biennale. Walked at the same time, the process of "historicizing" of his work opened in the monograph ideally Giulio Giorgio de Marchis Turk who fired in 1971, the first ever in the bibliography of the artist.

In 1973 the city of Spoleto dedicates a first retrospective exhibition, curated by John Carandente, followed a year later by a more extensive, the Palazzo delle Esposizioni in Rome.
On February 24, 1984 kicked off at the Padiglione d'Arte Contemporanea in Milan exhibition Giulio Turcato.
Participates in historical exhibitions dedicated to Form 1 in Bourg-en-Bresse and Darmstadt (1987).
It is present again at the Biennale in Venice, housed in the section entitled Italian Opera (1993).
Following a respiratory crisis, died in Rome on 22 January 1995.

Selection of the most recent solo and group exhibitions:

2001

The Center for Contemporary Art, Warsaw

2003
Musée d'Art Moderne et Contemporain Liège, Liège
Galleria Civica d'Arte Moderna e Contemporanea - Torino, Torino

2004
Villa Croce Museo d'Arte Contemporanea, Genoa

Bibliography: M. Calvesi, Giulio Turcato, catalog retrospective exhibition in Venice, Milan, 1990, F. D'Amico, W. Guadagnini, Giulio Turcato, exhibition catalog of Mantua and Modena, 1998.Bibliografia: M. Calvesi, Giulio Turcato, catalog retrospective exhibition in Venice, Milan, 1990, F. D'Amico, W. Guadagnini, Giulio Turcato, exhibition catalog of Mantua and Modena, 1998.