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Gianni Monnet seems to have fallen through the cracks of art history, which is sad in all sorts of ways. Of all the artists of MAC, the Movimento Arte Concreta, which lasted from 1948 to 1958, Gianni Monnet seems to have been the joker in the pack. His original works contributed to Documenti d'arte d'oggi, the movement's four-volume journal, are almost uncategorisable, so intent was Monnet on sticking on various bits of material, ranging from furry purple felt to sandpaper to corrugated card. I've already posted here about an instance in which a lithograph had holes hand-punched through it, a piece of scrumpled newspaper collaged to it, and sandpaper and corrugated card fixed to the facing page in order to make visible impressions on the surface of the litho. Surface and the rupturing of the surface; texture and the effects of texture on the untextured surface; these seem to have been his obsessions. Gianni Monnet Untitled lithograph, 1955 Gianni Monnet Untitled lithogr

Enrico Bordoni was born in Altare in 1904. Enrico Bordoni (1904-1969) A professor at the Accademia Brera in Milan, Enrico Bordoni was a member of the abstract art group MAC, Movimento Arte Concreta, which flourished from 1948-1958. Enrico Bordoni Untitled lithograph, 1949 Enrico Bordoni Untitled lithograph, 1949 Enrico Bordoni Untitled lithograph, 1951 Enrico Bordoni Untitled woodcut, 1955 Bordoni was one of the most prolific contributors to MAC's publication Documenti d'arte d'oggi. His original silkscreens, woodcuts and lithographs show a powerful and highly-alert sense of rhythm, and their gestural authority and boldly vibrant use of colour link this non-figurative Italian "concrete art" movement with the contemporary Abstract Expressionism of the USA. Enrico Bordoni Untitled lithograph, c. 1950 Enrico Bordoni Untitled lithograph, c. 1950 Enrico Bordoni Untitled lithograph, 1949 Enrico Bordoni Untitled lithograph, c. 1950 Enrico Bordoni Untitled lithograph, c.

Lucio Fontana was born in Argentina in 1899. Now renowned as the founder of the Spazialismo movement (Spatialism), he was a member of Abstraction-Cr�ation in the 1930s, and in the 1950s he was also closely involved in the Italian abstract movement MAC, the Movimento Arte Concreta. Lucio Fontana, Untitled lithograph, 1955 Lucio Fontana, Untitled lithograph, 1955 The two Fontana lithographs above both date from 1955, and are printed on very thin paper, the first on green, the second on orange. They have both been randomly punctured with many small holes, in accordance with Fontana's practice at this period, and his ongoing concern with disrupting the picture plane. His paintings of this date, which are also punctured with holes rather than slashed with cuts (for which he is perhaps more famous), were called Buchi, Holes. Lucio Fontana Untitled lithograph, 1958 Apparently Fontana came to find MAC's theoretical rejection of figuration an arid dead-end, leading too many of its artis

Augusto (or Avgust) Cernigoj was born in Trieste in 1898, of Slovenian parentage. He studied at the Fine Art Academy of Bologna, and also at the Bauhaus, where he was the only Italian student. Augusto Cernigoj worked as a teacher at the Slovenian school in Trieste. The two works below were contributed to Documenti d'arte d'oggi, the journal of the Movimento Arte Concreta, in 1958. By happenstance, my copies have been hand-signed by Cernigoj in pen at the bottom right. Usual copies are unsigned. Augusto Cernigoj Untitled woodcut, 1958 Augusto Cernigoj Untitled lithograph, 1958 The influence of Hans Arp can be seen in the lithograph, which is a very successful and balanced composition, in my view. Although he was a well-respected artist, the art of Cernigoj has only been truly appreciated after his death in 1985. More than 1400 pieces are gathered in the Galleria di Avgust Cernigoj in Lipizza.

The long-lived artist and art critic Gillo Dorfles was born in Trieste in 1910, and in 2013 was still able to be actively involved in designing the Tibetan Pavilion for the 55th Venice Biennale. Gillo Dorfles His chief period as an active artist spanned essentially the life of the influential abstract movement he co-founded, MAC, the Movimento Arte Concreta. MAC was founded by Gillo Dorfles, Atanasio Soldati, Bruno Munari, and Gianni Monnet in 1948, and disbanded in 1958 after the premature death of Monnet. Writing in the New York Times in 1955, when Dorfles was showing a group of monotypes at the Wittenborn Gallery, D. Ashton notes that, "In most of his prints, the emphasis is on a personal calligraphy that can be read for meaning, like handwriting. . . At times the rhythmic interplay of line resembles the intricate symbolic designs on ancient oriental bronzes. In his delicacy of color and the emphasis on integral rhythms, Dorfles achieves a lyrical quality." These comments

What critical attention that has been focused on the Movimento Arte Concreta has been on the male artists who formed the overwhelming majority of the members of MAC. So I thought before I turned my attention to the men I would post about the three women who contributed original art to Documenti d'arte d'oggi. Simonetta Vigevani Jung (1917-2005) The first of these is Simonetta Vigevani Jung. She was born Simonetta Irene Jung in Palermo, Sicily in 1917. She first exhibited in Milan in 1955, and in New York the following year at the Duveen-Graham Gallery. Her work is distinguished by its dynamic forms and vivid colours - though colour is not an essential element of her art, as two cool black-and-white studies in line and form go to show. I have to say I personally prefer the colour work, with its enticing sense of cosmic rhythm. Writing of her "Light Forms" (Forme Luce) paintings of 1955 (to which the first six of my lithographs are closely related), Albert Duveen remark