The Forma 1 Group
Works by Accardi, Attardi, Dorazio, Perilli, Sanfilippo and Turcato in the Farnesina Collection
The Forma 1 Room
The works in this room offer an overview of the activity of the Forma 1 group, born in April 1947, in Rome, with the publication of the group’s Manifesto.
Kasimiro medio (1967) by Piero DorazioMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
"Painting must represent nothing but the elements of which it is made: colours, lines, surfaces, materials, timbres, movement, light and shadow, forte and adagio, horizontal, vertical, diagonal, hot and cold, in short, all those phenomena that guide my existence" (P. Dorazio)
Atrox (1968) by Piero DorazioMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
After the collective experience in 1951, each artist of Forma 1 group continued their own path of abstract or figurative experimentation.
Accardi, Cornici e corde by Carla AccardiMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
“The painting of signs was born out of my desire for a tabula rasa” (C. Accardi)
Rosso e verde (1963) by Carla AccardiMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
This is how Carla Accardi affirms her desire to express herself through an essentially abstract language characterized by color and sign.
Numerosi spazi (1957) by Antonio SanfilippoMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
Sanfilippo's research also focuses on the power of the sign. His stylistic approach consists of the continuous oscillation between free spaces and closely-meshed signs, between voids and solids, silence and noise, black and white, and unusual colour combinations.
Si dividono invano (2006) by Carla AccardiMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
In "Si dividono invano", Accardi's abstract sign becomes wood painted in grey enamel to contrast with the whiteness of the wall, while composing a message for the viewer.
Bifrontale n.2 (1995) by Pietro ConsagraMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
The interpreters of Forma 1 also include Consagra, who in the 1950s, in order to establish a more immediate dialogue with the viewer, freed his sculptures from the weight of tradition and three-dimensionality, imagining them as seen from a single, frontal point of view.
"Bifrontale n.2" shows a further evolution of his poetics, by introducing an element of ambiguity, he allows the viewers to choose their position.
Riflessa n.7 (1967/1969) by Pietro ConsagraMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
Also on display by the same author, “Riflessa n. 7” (1966).
La traversia della geometria (2008) by Achille PerilliMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
Achille Perilli is one of the most complex personalities of the group. A recurring theme in his reflections is geometry, which he describes of as a paradox, whose rules and theorems he disrupts to create a form that could be defined as 'heretical'...
...because it is impossible to find the vanishing point and perspective. This is the case of “La traversia della geometria”, in which the eye follows the sign, tracing, as the artist himself writes, “brilliant fields of colour”.
Chagall a Buenos Aires (2000) by Ugo AttardiMinistero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina
By Ugo Attardi is present in the Collection the work "Chagall in Buenos Aires" (2000).
The story is created in collaboration with Touring Club Italiano
Courtesy Archivio Accardi Sanfilippo, Archivio Ugo Attardi, Ettore Caruso, Archivio Pietro Consagra, Archivio Piero Dorazio, Archivio Achille Perilli.
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