Claudio Verna

In 1957 he enrolled at the Faculty of Sociology of Florence, and came into contact with artists of abstraction. In 1960 he had his first solo show at Gallery Numero of Florence. After the first abstract tests, embraces the informal. In 1961 he moved to Rome where he explores the tools of his artistic research. In 1967 resumes to exhibit an exhibition at the Gallery Il Paladino of Palermo. The following year he has personals at the Studio Arco d'Alibert of Rome, the Sagittarius Gallery of Bari and Flori Gallery in Florence and in 1970 he exhibited with a solo, the XXXV edition of the Venice Biennale.
These were the years of the so-called 'analytical painting' when the artist performs a deep linguistic analysis on painting: its structural coordinates, its tools and materials. It is a return to ground zero of painting, to a minimum practice and elementary grade of paint. The works of the late sixties have large monochrome surfaces with irregular broken lines. Then prevail geometry-color combination: the dominant values are those of the colors (anonymous, saturated, à plat), of the frame and of the ratio, often out of phase, among canvas, frame and painted surface.
Throughout the seventies are dedicated numerous solo in 1970: in 1970, Galleria dell’Ariete, Milan, in 1971, Editalia Gallery, Rome and Galleria Ferrari, Verona; in 1972, Galerie M, Bochum; in 1973 and 1976, the Milione Gallery , Milan; in 1975, Studio Condotti 1985, Rome; in 1976 and 1977, the La Bertesca Gallery, Genoa; in 1977, Galerie Arnesen, Copenhagen and Marlborough Gallery, Rome, 1977; in 1978, Galleria del Sole, Genoa; in 1979, Gallery La Polena, Genoa.
In the same decade participates in prestigious group exhibitions: in 1970, Biennale de Peinture, Menton; in 1971, the Biennale del Mediterraneo, Alexandria, Egypt; in 1973, X Quadriennale of Rome; 1973, Un future possibile –Nuova Pittura, Palace dei Diamanti, Ferrara; Museum of Philadelphia; Kunsthalle, Düsseldorf; in 1974, the Museum of Oslo; in 1975, Empirica, Rimini and Castelvecchio Museum in Verona; Nordjyllands Kunstmuseum, Aalborg; Fyns Kunstmuseum, Odense; in 1977, Modern Art Gallery , Turin; in 1978 the Triennial of New Delhi. He also exposes at the editions of the Venice Biennale in 1978 and 1980.
As of the end of the seventies the artist frees its conceptual painting of the last remnants, from that think the picture that kept him anchored to the rigor of the analysis in favor of a more free and lyrical color and rhythm. The rapid and incisive strokes are shown in their gestures. The color is vivid, is patterned in areas, in spots that float and overlap.
At the end of the eighties and during the nineties, important anthologies are dedicated to him; in 1988, the Museum of Gibellina; in 1994, Municipal Gallery of Spoleto; in 1997, Civic-Pac Museums of Ferrara; in 1998, Palazzo Sarcinelli in Conegliano.