Tullio Crali (Igalo, Montenegro 1910 – Milan 2000)

Notwithstanding his dreadful education, he proved to be one of the most talented young Aeropainting leading exponent. After his family transfer to Gorizia in 1922 when he was twelve years old, he was already attracted by the Balla and Prampolini futurist painting at fifteen. His works represent the typical universe he explores, where he gets to the heart of the sky rooms, like a kamikaze flying off in a sort of mechanical and very-clear-predatory flight at the same time. His art is limited by a total objectivity and control, although he can infuse a feeling of pure adrenaline into the spectator, with its very-plainly-described purposes (the “To be wedged inside buil-up aerea”of the Rovereto MART, 1939, proves it).

He was crowned “futurist aeropainting genius” by Filippo Tommaso Marinetti, whose way of thinking he was a great lover. He managed going near a sort of Abstractionism shyly, thanks to his researches started with the Boccioni resolutions.

He lived in Paris from 1950 to 1960 and during the short period he spent in the city of El Cairo, he experienced teaching. Finally, he moved to Milan in 1966.

The seventies production is the least inquired, although it shows he is still able to paint paradoxically-“natural” masterpieces like the “Air simultaneity” of 1973 and the “Sky acrobatics” of 1978. The former is characterised by the perception of the chill and the mountain heights through a blue wise use; the latter replaces a concentric flight by a sort of asphyxiating acquatic whirling.

Bibliography:

Consulenza linguistica a cura di  Rosa Maria Curci