Twentythird episode of the program “Pralines. Deliciousness from the world of art” by Ly thi Thanh Thao and Sergio Mandelli dedicated to Beppe Bonetti.
Beppe Bonetti is born in 1951 in Rovato, a small city in the Brescian territory, that has been home to important artists, among whom stands out Moretto, an Italian Renaissance painter.
Yet, more than from Moretto, Bonetti acquires a deep interest in painting from Gerolamo Calca, an important post-bohemian painter.
Bonetti, in the search for his artistic identity, revisits some 20th century fundamental art movements. First and foremost, he looks to surrealism as an academy for the elaboration of forms, and a fruitful laboratory of colors.
Then he shows inclination for geometric abstraction, tending towards optical art.
The year 1982 marks the turning point in his artistic career. Bonetti realizes that rationalism has lost its primary role in art.
Therefore Bonetti feels the necessity to embark on another dimension.
He nurtures a passion for philosophy, coins the term “METARAZIONALITA’”, in which the prefix “Meta” stands for “over”.
Whereas the geometric abstraction has taught Bonetti the line and the bi-dimensionality, he now tries to open up the forms, and to decompose them into their elementary components.
The Vismara Gallery in Milan, alongside with other important galleries, organizes his first important shows.
With this concept in mind, Bonetti has executed various series of works.
The first series presents segments of different colors that seemingly fluctuate in a monochrome atmosphere, as parts of a scaffold that suddenly gives way.
But most of the time, it’s the same segments that, when reassembled, give life to the original structure seen through the negative, as in the case of the circle.
Bonetti’s attempt to reorder the scattering signs in the space can be seen in the series titled “Variations of number 7”. Attracted by the arithmetic and symbolic values of this number, Bonetti creates a reticular structure inside the cells of which we can notice infinite variations of seven segments of diverse lengths.
Another series – perhaps the most representative of his idea on Metarazionalità – deals with a geometric form shattered into fragments of different sizes.
But Bonetti’s paintings can be interpreted in an inverse way: there are fragments in the space that try to recompose themselves to give shape to a definite figure.
At the basis of these artworks there exists a reverence for the idea that the richness of art is the result of the gradual absorption of all the styles that have been developing since man’s origin.