What is meant by Analytical Painting?

Origins of Analytical Painting

Pittura analitica (Analytical painting) is an artistic movement of the 1960s, Italian art of the 1970s

To understand what is meant by Pittura Analitica 〈Analytical Painting〉, we must refer to the artistic movement that originated in Italy in the late 1960s, also known as Nuova Pittura 〈New Painting〉, Fundamental Painting, or Pittura – Pittura 〈Painting-Painting〉.

This movement arose as a reaction to conceptual art, represented by figures such as Joseph Kosuth, and aimed to defend painting as a still valid and vital means of expression.

The objectives of Analytical Painting

Analytical Painting artists focus on analyzing the internal mechanisms of painting, studying the relationships between its constituent elements. The aim is to demonstrate that painting does not necessarily have to represent something recognizable, but can be a pure exploration of its structural elements.

Claudio Verna and the painters of the 1970s

The main Italian analytical artists and the role of Claudio Verna

Among the most representative painters of this movement are Rodolfo Aricò, Mario Nigro, Luciano Bartolini, Carlo Battaglia, and, of course, Claudio Verna.

Egidi MadeinItaly artworks in the gallery

Among Claudio Verna’s works, a pastel dated 1980 signed by Claudio Verna

Claudio Verna Pastello su Carta
Claudio Verna Pastel

Claudio Verna and the painters of the 1970s

The main Italian analytical artists and the role of Claudio Verna

Among the most representative painters of this movement are Rodolfo Aricò, Mario Nigro, Luciano Bartolini, Carlo Battaglia, and, of course, Claudio Verna.

Verna stands out for his rigorous approach and ability to explore the potential of color and light, helping to define the language of Analytical Painting.

Claudio Verna su Egidi MadeinItaly
La soglia opera di Claudio Verna

Verna’s Research

Claudio Verna’s works are characterized by an intense use of color, with high saturation and plays of light that create an engaging visual effect.

His research focuses on understanding the internal mechanisms of painting.

The goal is to demonstrate that painting does not necessarily have to represent something recognizable, but can be a pure exploration of its structural elements, in order to be able to say that it does not necessarily have to represent something in order to find legitimacy.