The exhibition organized by Credito Valtellinese Foundation, sponsored by Sondrio municipal authorities and mounted by Beatrice Buscaroli, includes about sixty exhibits realised in Paris from 1945 to 1970 by as many artists.

During the post-war period Paris was a melting pot of art experiences, human relations and meetings. The informal art begun to spread in Europe in the second half of the '40s. In 1945, three personal exhibitions of Jean Fautrier, who exhibited Otages, Dubuffet, who exhibited the lithographs realised for Ponge and Guillevic's texts, and Wols were hosted in Paris. In 1951, with the exhibition Véhémences Confrontées and, one year later, with the publication of the volume Un art autre, Michel Tapié laid the fundamentals of the first critical arrangements of the informal art.

Along with the informal art, numerous artistic movements and trends co-existed in Paris. There were, for instance, the Concrete Art, which, in 1945, reaffirmed the importance of geometric forms and pure colours; The exhibition Art Concret; the vitality of the Surrealism

During the post-war period Paris was a melting pot of art experiences, human relations and meetings. The informal art begun to spread in Europe in the second half of the '40s. In 1945, three personal exhibitions of Jean Fautrier, who exhibited Otages, Dubuffet, who exhibited the lithographs realised for Ponge and Guillevic's texts, and Wols were hosted in Paris. In 1951, with the exhibition Véhémences Confrontées and, one year later, with the publication of the volume Un art autre, Michel Tapié laid the fundamentals of the first critical arrangements of the informal art. Along with the informal art, numerous artistic movements and trends co-existed in Paris. There were, for instance, the Concrete Art, which, in 1945, reaffirmed the importance of geometric forms and pure colours; The exhibition Art Concret; the vitality of the Surrealism A small group of Italian collectors, in particular Lombard collectors were much interested in the artistic vicissitudes occurred during the second half of the '40s. So, works by Hartung (T U 42, 1962) and Fautrier, Wilfred Lam (Figura in bianco e nero, 1969), Michaux, George Mathieu (Petit engagement de Chevaliers devant le muret, 1954), André Lanskoy, Camille Bryen, Vasarely, Serge Charchoune and Sebastian Matta, Asger Jorn (Conversazione a sei, 1953), Pierrre Alechinsky (Senza titolo, 1957) and Poliakoff (Composition, 1952) were taken to the Italian houses of the connoisseurs of the informal painting

The exhibition Painting in Paris 1945-1970 partly illustrates the vicissitudes of the so-called Ecole de Paris

A brochure with the reproduction of the exhibits, documents of those times and the biographical note of the artists, published by Credito Valtellinese Foundation and edited by Beatrice Buscaroli is also available.

For further information:
Credito Valtellinese Gallery,
phone 0342/52.27.38

Press Office:
Cristina Piccapietra
phone 0342/52.27.38 fax 0342/52.27.44 (Gallery in Sondrio)

Elisabetta Mossinelli
phone 02/48.00.80.15 fax 02/48.14.269 (Gallery in Milan)