Ennio Morlotti was an Italian painter, born on September 21, 1910, in Lecco, Lombardy, into a modest family. His early life was marked by hardship and poverty, which did not deter him from pursuing his passion for art. Morlotti's childhood was spent in a boarding school where he demonstrated exceptional talent for study. From 1923, he began working in various capacities - as an accountant in an oil mill, a clerk in a paint factory, and a worker in a mechanical factory - to support himself while nurturing his artistic talents. Despite these challenges, Morlotti devoted himself to studying ancient art in churches and museums and developed an interest in contemporary art. In 1936, after achieving artistic maturity as a private student at the Accademia di Brera, Morlotti left his job to enroll at the Accademia di Belle Arti in Florence. There, he was mentored by Felice Carena and graduated with honors, presenting a thesis on Giotto. His time in Florence was short-lived as he soon realized that his artistic roots were being diverted from Lombard painting to that of Tuscany, prompting him to leave Florence. In 1937, Morlotti spent a brief period in Paris, where he was exposed to the works of his beloved artists, including Cezanne and Picasso. This trip significantly impacted his artistic education, introducing him to European art movements such as Fauvism and Expressionism. Upon returning to Italy, Morlotti moved to Milan and briefly studied at the Brera Academy. In 1940, he joined the artistic group called Chain, inspired by the magazine Current of youthful life, directed by Ernesto Treccani. The movement leaned towards French expressionism, drawing inspiration from artists like Van Gogh and the Fauves. Morlotti's involvement in the Italian Communist Party in 1946, albeit for a short period, marked a politically active phase in his life. Despite economic hardships, this period was culturally enriching for Morlotti, who signed the Manifesto of Realism, joined the New Front of the Arts, and held his first personal exhibition at The Fireplace Gallery in Milan. In the post-war years, Morlotti returned to Paris in 1947 and participated in the Fronte Nuovo delle Arti. His artistic journey saw him moving away from realism towards informal art in the 1950s, producing some of the most significant works in this genre not only in Italy but also in Europe. The Venice Biennale, where his works were exhibited multiple times, recognized his talent and artistic importance. Morlotti's painting style is distinguished by its organic density, deep engagement with nature, and a quest for harmony and hallucination in light. Throughout his career, Morlotti continued to exhibit in important national and international exhibitions. His large material figures, showcased at the 1988 Venice Biennale, amazed critics for their expressive power and the sense of space they conveyed. Morlotti worked with passion until the last years of his life, focusing on larger paintings and developing a new interest in Romanesque architecture. Ennio Morlotti died suddenly in Milan on December 15, 1992. He left behind a legacy of works that underscore his importance in the Italian and European art scene of the second half of the twentieth century. Morlotti's contributions to the Corrente de Vita movement, his affinity for the geometry of Cezanne and Matisse, and his later explorations into abstraction and informal art, have cemented his status as one of the great masters of contemporary art, whose work continues to inspire and fascinate art lovers around the world.

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