Composizione 1944

Editor: Right now, we’re looking at Atanasio Soldati’s “Composizione” from 1944. It's a mixed-media piece featuring what look like geometric shapes arranged on a flat plane. There's a muted, almost melancholic, feel to it. What do you see in this piece, from your perspective? Curator: I see Soldati grappling with the legacy of modernist abstraction during a period of intense social upheaval. Made in 1944, towards the end of World War II, the composition becomes a coded commentary. Notice how the seemingly innocent geometric forms - the building, the box, the bottle - lack depth and solidity, almost like theatrical props. Editor: So, you are saying that the "props" and composition tell the viewer more than what is presented? Curator: Exactly. Soldati abstracts everyday objects as a critical lens. Think about it - Italy was under Fascist rule during this time. Abstraction offered artists a way to critique the established order indirectly. The simplification and flattening could represent a rejection of the grand narratives and ideals being promoted by the regime. The color palette adds to the mood, the muted colors feel like oppression and reflect that feeling, I think. Does this make sense to you? Editor: It does, especially the socio-political undercurrent you highlight. So it’s like Soldati used abstraction as a form of subtle resistance. Almost a whisper of dissent. I hadn’t thought about it in that light initially. Curator: Precisely. This approach encourages us to think critically about the role of art in shaping and reflecting broader societal concerns, and in return we learn what art can mean for the people. The shapes, composition and material work together to convey meaning to the viewer. Editor: I’m seeing this artwork completely differently now. Thank you! Curator: It’s all about layering our understanding, always relating the visual to the social and political!