The monographic volume accompanies the largest exhibition ever dedicated to Mario Nigro (Pistoia, 1917 - Livorno, 1992) with over one hundred and forty works from 1947 to 1992, including paintings, three-dimensional and paper works, together with a wide selection of documents.
The volume traces the different moments of Nigro's artistic language: from an experimental attitude starting in the 1940s, up to a decisive orientation towards abstract and geometric compositional structures in his later years. The artist's works suggest a recurring narrative horizon based on "rhythm", "forms" and "time" - the result of a vision in which the knowledge of music and science have a decisive influence.

The volume contains an essay by Antonella Soldaini, an interview by Elena Tettamanti with Tommaso Trini on the work and figure of Mario Nigro, an essay by Francesca Pola dedicated to his works on paper, a detailed chronology and an updated bio-bibliographical apparatus - to deepen the figure of the Tuscan painter.

Contents

Foreword

Constructive Discipline and Contmporary Disquiet in Mario Nigro's Pictorial Language
Antonella Soldaini

Nigro's Battles. Mario's Bonds
Interview Elena Tettamanti con Tommaso Trini su Mario Nigro

“To the Origins of Who We Are.”
Mario Nigro’s Works on Paper: A Laboratory of Ideas
Francesca Pola

Mario Nigro
From Abstract Works (1947) to Structures (1992)

1947–1951
Abstract Works and Chequered Panels

1952–1961
Total Space and Reticular Tensions

1962–1964
Vibrant Collages on the Pathway to Three Dimensions

1965–1968
From Total Space to Total Time

1969–1979
The Counterpoint of the Line and the Metaphysics of Colour

1980–1981
Earthquake

1982–1986
The Line as a Horizon

1987–1989
Tracks, Portraits and Satanic Paintings

1990–1992
Meditations and Structures

Artist's Texts Sources

Appendix

Exhibitions
Bibliografphy