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Ministero degli Affari Esteri e della Cooperazione Internazionale. Collezione Farnesina

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“The painting of signs was born out of my desire for a tabula rasa.” (BARBERO, 2011,p. 27). As in the case of her husband Sanfilippo,the element of liberation of Carla Accardi’s painting is to be found in the rigorousreduction of reality to sign as a tool for investigation of the world in its essence.The constant of the sign is continually reinvented by the artist, who transfers herartistic graphemes onto supports ranging from canvas to plastic.In the work exhibited here, her sign becomes wood painted in grey enamel to contrastwith the whiteness of the wall. In the bas-relief, shown by Jan Hoet in the MARTaHerford museum, the signs that “divide in vain” reach the gigantic height of abouttwo and a half metres and extend “with slight movements” for twelve metres alongthe white wall as though to compose a message for the viewer: “The sign is not expressionof the unconscious but [...] language of communication. [...] It exists in relationto other signs, with which it forms a structure [...] and acquires magical and intelligentmeaning.” (Ibid., p. 56) (Transl. by Paul Metcalfe per Scriptum, Roma) Bibl: Carla Accardi. Segno e trasparenza, a cura di L.M. Barbero, Cinisello Balsamo 2011.

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Carla Accardi: Pioneer of Italian Arte Informale

Carla Accardi (October 9, 1924 – February 23, 2014) stands as a monumental figure in the history of Italian art, particularly recognized for her contribution to Arte Informale and Arte Povera movements. Born in Trapani, Sicily, Accardi’s artistic journey began with formal training at Palermo and Florence academies before establishing herself in Rome in 1946—a pivotal moment that propelled her into the heart of Italy's avant-garde landscape. Her formative years were marked by exposure to Futurism, an influence that would permeate her early explorations of abstraction and materiality.

Early Artistic Development: Accardi’s initial self-portraits served as a crucial stepping stone toward her groundbreaking embrace of abstract expressionism. These introspective works foreshadowed the bold experimentation that characterized her subsequent artistic endeavors.
Forma Group & Concrete Art: Accardi cofounded Forma in 1947 alongside Pietro Consagra, Ugo Attardi, Antonio Sanfilippo, Giulio Turcato, Piero Dorazio, Achille Perilli and Mino Guerrini—a collective dedicated to exploring concrete art principles. Forma’s inaugural exhibition in Rome solidified its position as a vanguard of Italian artistic innovation.
Influence of Surrealism & Expressionism: Accardi's artistic vision was profoundly shaped by the works of Alberto Magnelli and Hans Hartung during her Parisian sojourns, inspiring her to delve into black and white painting and experimenting with Sicofoil—a translucent plastic material that she utilized to create “tendas,” or tents of clear plastic adorned with painted forms.

The Rise of Monochrome & Color Exploration

During the 1960s, Accardi embarked on a significant stylistic shift, prioritizing monochromy and color palettes—a deliberate reaction to the dynamism of her contemporaries. Her black and white “Integrazione series” reflected a contemplative engagement with artistic tradition while simultaneously pushing boundaries. Simultaneously, she embraced vibrant hues like Stella and II Stella (Star I & II), capturing luminous energy and embodying the spirit of the era. Accardi’s use of Sicofoil was revolutionary; she described it as "like something luminous, a mixing and a fluidity with the surrounding environment: perhaps in order to take away the totemic value of the painting."

Sicofoil Sculpture: Accardi's innovative application of Sicofoil resulted in sculptural installations that challenged conventional notions of artistic form and materiality.
Feminist Engagement & Rivolta Femminile: Accardi’s commitment to feminist ideals extended beyond her art practice, culminating in the founding of Rivolta Femminile (Feminine Revolt) alongside Carla Lonzi—one of Italy's earliest feminist collectives and publishing houses.

Arte Povera & Legacy

Accardi’s artistic contributions cemented her place within Arte Povera, a movement that championed humble materials and processes as vehicles for conveying profound emotional resonance. Her work resonated deeply with critics like Michel Tapie who recognized the significance of Accardi's exploration of materiality and its connection to the environment. Accardi’s solo exhibition at MoMA PS1 in 2001 marked a triumphant return to the United States stage, showcasing her enduring influence on contemporary art. Carla Accardi remains an indelible symbol of Italian avant-garde artistry—a testament to creativity, innovation, and unwavering dedication to artistic expression.

Notable Works

Bianco Nero Su Tu
Untitled (918)
Carla Accardi Grigo Bruno Peinture Sur Toile CPA

Carla Accardi

1924 - 2014 , Italy

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Artistic Movement Or Style: Arte Informale & Arte Povera
Artists Or Movements Influenced By This Artist: ['Forma Group']
Artists Who Influenced This Artist:
- Alberto Magnelli
- Hans Hartung
Date Of Birth: October 9, 1924
Date Of Death: February 23, 2014
Full Name: Carla Accardi
Nationality: Italian
Notable Artworks:
- Archer on white
- Untitled (918)
Place Of Birth: Trapani, Italy

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