GIULIO TURCATO
Giulio Turcato was born in Mantua on March 16, 1912. In 1920, his family moved to Venice, where he attended the Ginnasio, the Scuola Arte, the Liceo Artistico, and the Libera Scuola di Nudo. His first works, including landscapes and still lifes, date back to 1926. By 1932, he had already participated in his first collective exhibition. Between 1934 and 1936, he worked in Venice in architect Breddo’s studio, and exhibited in group shows in Florence and Venice. He later moved to Palermo for officer training. In 1937, Turcato moved to Milan, where he worked as a draftsman and mosaic artist in architect Mauzio’s studio and held his first solo exhibition. In 1940, he participated in a group show at the Galleria Grande in Milan. The following year, after recovering from an illness, he briefly traveled to Rome. In 1942-43, he returned to Venice, teaching at the Portogruaro professional training school and presenting his work Maternità at the 23rd Venice Biennale, marking the start of his many Biennale participations. In 1943, he moved to Rome, where he presented Natura Morta at the 4th Quadriennale, along with works such as Paesaggio and Veduta di Chioggia. He was part of a collective exhibition at the Zodiaco Gallery with artists like Scialoja, Vedova, and Leoncillo. The following year, he exhibited in Arte contro la barbarie at the Secolo Gallery. In 1945, he co-founded Art Club and joined the Libera Associazione Arti Figurative, taking part in group exhibitions. His first solo exhibition in 1946 was at Galleria San Marco in Rome, where he presented works like Villa Medici, Valle Giulia, and Cantiere Notturno. That same year, he also signed the manifesto for the Nuova Secessione Artistica Italiana. In 1947, Turcato became one of the founders of the Forma group, which was promoted by the Forma 1 magazine, where he also wrote Crisi della pittura. He exhibited with Dorazio, Guerrini, and Perilli at Art Club and, in June, participated in the Fronte Nuovo delle Arti exhibition in Milan. In 1948, he was in Milan and Venice, where he met with fellow artists like Dova, Fontana, and Munari, inviting them to participate in the Arte Astratta in Italia exhibition in Rome. He also took part in Arte Oggi at Palazzo Strozzi in Florence and the 5th National Exhibition of Fine Arts at the Galleria Nazionale d’Arte Moderna. In June, he was invited to the 24th Venice Biennale as a member of the Fronte Nuovo delle Arti. In July-August, he exhibited at the 3rd Salon des Beaux Arts in Paris and, in the autumn, at the Prima Mostra Nazionale di Arte Contemporanea in Bologna. 1949 brought more exhibitions, including a show with Consagra and Corpora in Rome, the XX Century Italian Art exhibition at the Museum of Modern Art in New York, and solo exhibitions in Asti and Milan. In 1950, Turcato joined the group Gli Otto, alongside Afro, Birolli, Corpora, Moreni, Morlotti, Santomaso, and Vedova. Among his solo exhibitions that year, his show at the Secolo Gallery in Rome stood out, where he presented works like Miniera, Massacro, and Scaricatori. At the 25th Venice Biennale, he won the acquisition prize for his piece Miniera. In 1951, he participated in the 2nd Mostra d’Arte Contro la Barbarie at the Galleria di Roma and exhibited with Consagra at Pincio in Rome. In 1952, Turcato exhibited at the Venice Biennale as part of Gli Otto, with shows in German cities like Munich, Hannover, and Berlin. He also had a solo exhibition at Cassapanca in Rome, presenting works inspired by Miciurin. The following years saw solo exhibitions at Naviglio Gallery in Milan, the Tartaruga in Rome, and Grattacielo Gallery in Milan, where he presented San Rocco and other important works. Turcato’s participation in group exhibitions also flourished, including the International Exhibition of Contemporary Painting at the Carnegie Institute in Pittsburgh (1955), the 7th Quadriennale in Rome (1955), the Guggenheim International Award in New York (1958), and Documenta II in Kassel (1959). These exhibitions cemented his reputation as a leading figure in visionary, poetic abstraction. In 1960, Turcato joined the Gruppo Continuità, which included artists like Bemporad, Consagra, and Dorazio, and participated in the group's show. The following year, he held solo exhibitions at the New Vision Centre Gallery in London and Canale Gallery in Venice, where he showcased his first Tranquillanti series. By 1962, Turcato began to explore the Oltre lo spettro series, with solo exhibitions at Buerdeke in Zurich and Tartaruga in Rome. In 1963, he exhibited at Quadrante Gallery in Florence, and in the following years, his work was showcased at Segno in Rome and Polena in Genoa. 1964 also marked his marriage to Vana Caruso, as well as the debut of his Porta d’Egitto series, presented the following year in Milan and Rome. Turcato continued to exhibit internationally throughout the 1960s and 1970s, with shows in cities like Paris, Frankfurt, and New York, as well as major retrospectives at institutions like the Museo d’Arte Moderna in Bucharest (1979) and the Musée de l’Athénée in Geneva (1980). His later exhibitions included significant solo shows at venues like the Sprovieri Gallery in Rome (1980), the Mazzoli Gallery in Modena (1981), and the Biennale di Venezia in 1982, where he presented Linotico and Scomposizione. In 1984, Turcato’s work was featured at the Staatsgalerie Modern Kunst in Munich, and in 1986, at the Galleria Nazionale d’Arte Moderna in Rome. His final years were marked by numerous retrospectives, including a solo exhibition in New York at Sperone Gallery in 1989 and shows in L'Aquila and Venice in 1990. On December 18, 1994, his sculpture Oceaniche was inaugurated in Piazza Puccini, Viareggio, a gift to the city. Giulio Turcato passed away in Rome on January 22, 1995.
