Gianni Bertini was an artist who, to use the words of Lara Vinca Masini, “has traversed half a century of artistic history at a breakneck pace, like an ancient warrior (or a Japanese kamikaze) always risking everything and has used painting as a sword and as a banner.”
Tuscan by birth and Parisian by adoption, these are the influences that have generated his art, which apparently may seem messy and chaotic, made of rupture and discontinuity, realiZed in the overwhelming creative spontaneity of the moment. Actually, Bertini obeys precise rules that he imposes on himself and that guide his research; because, for him, pursuing an idea constitutes the primary and basic requirement of his work, with a stubborn logic, guided by a rationalist spirit, trained in mathematics.
Between the 1950s and 1960s Bertini joined the Informal current. This gestural painting is characterized by a conscious and reasoned abstraction, whereby each element seems to have a structuring, almost mathematical function, reminiscent of the structure of the universe, while at the same time managing to restore and suggest emotions. Bertini's space is configured as a set of mechanical elements, turbines, pistons, crankshafts, symbols of contemporaneity, which the artist juxtaposes with titles that refer to mythology, with the intention of elevating man to a cosmic position.