After Bergamini himself presented Edo Murtić’s paintings for the first time in Milan in 1959, the painter had last year the opportunity to present his work at Morgan’s Paint in Rimini, and it was obvious that he had gone a good way.
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Two years later, the works exhibited in Rimini displayed a line of in-depth study which was an attempt to get rid of the pleasant pictorial surfaces. One could note a more careful value given to composition, a formal condensation, which guided the image, without reducing the emotional impulse of the initial moment, to a greater density, and to avoid a certain reduced and over elegant atmospheres. Intensity made up for the loss of pleasantness. The image developed along a longer and more complex line of emotions, almost like a story of lyrical fragments where every sign or stain or focus of light reflects inner excitement. This is an extension of meditation on the first encounter with natural data rather than a play of memory narrating experienced facts or glimpsed landscapes. Therefore, it would be more appropriate to speak about the interweaving of a daily chronicle, indeed of an encounter with the joyous skin of the world, and a deeper need to give meaning to life, to that long succession of emotions and thoughts.
Marco Valsecchi, art critic, essayist and journalist