Untitled 1954

Curator: Looking at this painting by Guido Molinari, an untitled work from 1954, one is immediately struck by its materiality, wouldn’t you agree? Editor: Absolutely! The thick impasto and vibrant palette give it such an energetic feel. It's almost aggressive in its application, but still…somehow harmonious? Curator: Harmonious perhaps, if one considers Molinari's historical trajectory and the burgeoning abstract expressionist movement within Montreal at the time. We must remember the context in which these non-figurative works were seen as radical gestures. Editor: That’s undeniable, but I am still compelled by its pure optical impact. Look at the calculated way the colors are placed—the weight of each dab of paint. How do you read that against the broader cultural setting? Curator: I think his rejection of academic styles and embracing of pure color aligns with a period of political and social questioning. The very lack of a concrete subject matter becomes a statement against traditional values being pushed to the brink of chaos by this new form of expression. Editor: The chaos you speak of may be its success, its power to suggest without telling. Notice how the white background frames those impasto blobs and brings a sense of unity. Curator: Yes, that push and pull is crucial in understanding Molinari's place among his peers. They all challenged art's perceived role. He refused the prescribed modes of representation during a crucial moment of post-war rebuilding and reevaluation, where the Quebecois were striving to redefine themselves through various cultural expressions, this included paintings, of course. Editor: Fascinating to observe how societal and emotional needs may be conveyed via such material manipulation on a canvas. Curator: It's art reflecting and refracting a society undergoing significant shifts, wouldn’t you say? Editor: Definitely. It serves as another reminder to keep searching and reinterpreting! Curator: A most fruitful experience for both of us I feel.