{"id":11930,"date":"2023-01-27T11:22:37","date_gmt":"2023-01-27T10:22:37","guid":{"rendered":"https:\/\/archiviomorlotti.com\/biography\/"},"modified":"2024-11-06T12:34:44","modified_gmt":"2024-11-06T11:34:44","slug":"biography","status":"publish","type":"page","link":"https:\/\/archiviomorlotti.com\/en\/biography\/","title":{"rendered":"Biography"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"11930\" class=\"elementor elementor-11930 elementor-178\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-525130e e-con-full e-flex e-con e-parent\" data-id=\"525130e\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8b3d5d3 e-flex e-con-boxed e-con e-parent\" data-id=\"8b3d5d3\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-bbc4252 e-con-full elementor-hidden-mobile e-flex e-con e-child\" data-id=\"bbc4252\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t<div class=\"elementor-element elementor-element-5aa7ea8 elementor-widget__width-inherit elementor-widget elementor-widget-heading\" data-id=\"5aa7ea8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Biography<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-03574d6 elementor-widget elementor-widget-image\" data-id=\"03574d6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"800\" height=\"559\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2022\/12\/Morlotti.jpg\" class=\"attachment-large size-large wp-image-10175\" alt=\"\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2022\/12\/Morlotti.jpg 1024w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2022\/12\/Morlotti-300x210.jpg 300w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2022\/12\/Morlotti-768x537.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/>\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Morlotti, nella sua casa, con un acquerello di C\u00e9zanne<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c894009 gallery-spacing-custom elementor-widget elementor-widget-image-gallery\" data-id=\"c894009\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-1' class='gallery galleryid-11930 gallery-columns-2 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img decoding=\"async\" width=\"883\" height=\"825\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0690.jpeg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-10195\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0690.jpeg 883w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0690-300x280.jpeg 300w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0690-768x718.jpeg 768w\" sizes=\"(max-width: 883px) 100vw, 883px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-10195'>\n\t\t\t\tEnnio Morlotti con la figlia Paola nella casa di Colle Brianza, 1965\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img decoding=\"async\" width=\"748\" height=\"691\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0687.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-10192\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0687.jpg 748w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0687-300x277.jpg 300w\" sizes=\"(max-width: 748px) 100vw, 748px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-10192'>\n\t\t\t\tCon Francesco Biamonti, 1976\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"727\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Latteria-Pirovini-in-via-Fiori-Chiari-1945.-Guttuso-PandolfiMorlotti-Ajmone-e-Kodra.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-10235\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Latteria-Pirovini-in-via-Fiori-Chiari-1945.-Guttuso-PandolfiMorlotti-Ajmone-e-Kodra.jpg 768w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Latteria-Pirovini-in-via-Fiori-Chiari-1945.-Guttuso-PandolfiMorlotti-Ajmone-e-Kodra-300x284.jpg 300w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-10235'>\n\t\t\t\tLatteria Pirovini in via Fiori Chiari, Milano, 1945. Guttuso, Pandolfi, Morlotti, Ajmone e Kodra\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-10f9b46 gallery-spacing-custom elementor-widget elementor-widget-image-gallery\" data-id=\"10f9b46\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-2' class='gallery galleryid-11930 gallery-columns-1 gallery-size-large'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"548\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Velate-di-Varese-1960-con-Bruno-Cassinari-Renato-Guttuso-e-il-dottor-Enrico-Brambilla-Pisoni.jpg\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-2-10262\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Velate-di-Varese-1960-con-Bruno-Cassinari-Renato-Guttuso-e-il-dottor-Enrico-Brambilla-Pisoni.jpg 768w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Velate-di-Varese-1960-con-Bruno-Cassinari-Renato-Guttuso-e-il-dottor-Enrico-Brambilla-Pisoni-300x214.jpg 300w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-2-10262'>\n\t\t\t\tVelate di Varese, 1960, con Bruno Cassinari, Renato Guttuso e il dottor Enrico Brambilla Pisoni\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-96bd938 gallery-spacing-custom elementor-widget elementor-widget-image-gallery\" data-id=\"96bd938\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-3' class='gallery galleryid-11930 gallery-columns-2 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1008\" height=\"1438\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0688.jpeg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-3-10193\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0688.jpeg 1008w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0688-210x300.jpeg 210w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0688-718x1024.jpeg 718w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0688-768x1096.jpeg 768w\" sizes=\"(max-width: 1008px) 100vw, 1008px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-10193'>\n\t\t\t\tL\u2019artista a Saint-G\u00e9nis-des-Fontaines, 1991\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"537\" height=\"800\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0457.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-3-10187\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0457.jpg 537w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/02\/IMG_0457-201x300.jpg 201w\" sizes=\"(max-width: 537px) 100vw, 537px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-10187'>\n\t\t\t\tIn Liguria, 1969\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"465\" height=\"768\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/nello-studio-di-Colle-Brianza-anni-settanta.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-3-10265\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/nello-studio-di-Colle-Brianza-anni-settanta.jpg 465w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/nello-studio-di-Colle-Brianza-anni-settanta-182x300.jpg 182w\" sizes=\"(max-width: 465px) 100vw, 465px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-10265'>\n\t\t\t\tNello studio di Colle Brianza, anni Settanta\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"703\" height=\"768\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Colle-Brianza-.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-3-10238\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Colle-Brianza-.jpg 703w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Colle-Brianza--275x300.jpg 275w\" sizes=\"(max-width: 703px) 100vw, 703px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-10238'>\n\t\t\t\tColle Brianza\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-606051f gallery-spacing-custom elementor-widget elementor-widget-image-gallery\" data-id=\"606051f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-4' class='gallery galleryid-11930 gallery-columns-2 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"506\" height=\"768\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/interno-di-uno-studio.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-4-10263\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/interno-di-uno-studio.jpg 506w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/interno-di-uno-studio-198x300.jpg 198w\" sizes=\"(max-width: 506px) 100vw, 506px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-10263'>\n\t\t\t\tInterno di uno studio\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"576\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/periferia-di-Milano-meta-anni-50.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-4-10253\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/periferia-di-Milano-meta-anni-50.jpg 768w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/periferia-di-Milano-meta-anni-50-300x225.jpg 300w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-10253'>\n\t\t\t\tPeriferia di Milano, met\u00e0 anni \u201950\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"758\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/studio-di-Colle-Brianza-6-aprile-1980.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-4-10244\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/studio-di-Colle-Brianza-6-aprile-1980.jpg 768w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/studio-di-Colle-Brianza-6-aprile-1980-300x296.jpg 300w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-10244'>\n\t\t\t\tStudio di Colle Brianza, 6 aprile 1980\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"595\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/a-Gropparello-con-Bruno-Cassinari-e-Raffaele-Carrieri-1970.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-4-10241\" srcset=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/a-Gropparello-con-Bruno-Cassinari-e-Raffaele-Carrieri-1970.jpg 768w, https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/a-Gropparello-con-Bruno-Cassinari-e-Raffaele-Carrieri-1970-300x232.jpg 300w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-10241'>\n\t\t\t\tA Gropparello con Bruno Cassinari e Raffaele Carrieri, 1970\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-05b88cc gallery-spacing-custom elementor-widget elementor-widget-image-gallery\" data-id=\"05b88cc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-5' class='gallery galleryid-11930 gallery-columns-1 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"403\" height=\"480\" src=\"https:\/\/archiviomorlotti.com\/wp-content\/uploads\/2023\/04\/Ennio_Morlotti.gif\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-5-10246\" \/>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-5-10246'>\n\t\t\t\tEnnio Morlotti\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-d4f5a64 e-flex e-con-boxed e-con e-child\" data-id=\"d4f5a64\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0b74e15 elementor-widget__width-inherit elementor-hidden-desktop elementor-hidden-tablet elementor-widget elementor-widget-heading\" data-id=\"0b74e15\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Biography<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bb6b544 elementor-widget elementor-widget-text-editor\" data-id=\"bb6b544\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Ennio Morlotti was born in Lecco in 1910.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-40764d8 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"40764d8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>His fundamental life choices were not straightforward. They matured over the years doing a job to earn money for living (\u201c<em>But I darkly felt a rebellion inside me, that job seemed like a slow suicide [\u2026]<\/em>\u201d) and his first artistic education. Years spent in Lecco, Milan and Florence, where his temporary interests took him \u201c<em>I enrolled in the Academy of Florence in \u201936, but I left during my second year, I couldn\u2019t follow the lessons [\u2026] now I realise that Tuscan painting diverted the profound voice of my pictorial instinct. I am Lombard to the core<\/em>\u201d.  <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-40101d6 elementor-widget elementor-widget-text-editor\" data-id=\"40101d6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>In \u201937, Morlotti stayed in Paris for a short period and had his first direct encounter with the artworks of the great masters of the modern tradition <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-dafa2a6 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"dafa2a6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<em>\u201cAlso in Paris, where I ended up in \u201937, I didn\u2019t work at all. Only libraries and paintings by others [\u2026]. The Expo, where there were Philadelphia\u2019s great C\u00e9zanne\u2019s and there was Picasso\u2019s Guernica, and it was there that I had a flash of inspiration, one might say, due to these great painters [\u2026] Guernica, with its surrealism and its symbols, completely undermined the idea of reality that I had constructed [\u2026] C\u00e9zanne, not because of his cubes or his cylinders, but due to the overwhelming force of his mixture of colours, I remember the \u201cBagnanti\u201d (\u201cBathers\u201d) [\u2026] and it was really a stroke of blue and orange, a penetrating stroke [\u2026] I returned discouraged, full of emotions, but equally confused and toppled\u201d.<\/em>.  \t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-cc3ea16 elementor-widget elementor-widget-text-editor\" data-id=\"cc3ea16\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><strong>In Milan, from \u201839 to \u201842, Morlotti attended the Accademia di Brera.<\/strong><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b4d12ba elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"b4d12ba\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><em>\u201cI had enrolled at the Accademia di Brera, where I found enormous generosity on the part of both Aldo Carpi and Achille Funi [\u2026] I think that on a human level they were very strong people, as were all of us youngsters, there was the history of anti-fascism, in short there was a true society [\u2026]\u201d<\/em>.<\/p>\n<p>In the meantime, \u201cCorrente di vita giovanile\u201d was founded, a newspaper and a movement, which brought together the best minds of the time in the yearning for renewal and opposition. Morlotti joined \u201cCorrente\u201d in 1940. <\/p>\n<p> <em>\u201cDespite the war and fascism, for me Milan was such a warm and generous city that it cured any and all melancholy [\u2026] I joined the Corrente movement because I felt it was a kind of \u2018Scapigliatura\u2019, an anti-Novecento, that is, nature against formalism [\u2026] a sort of revolt against our fathers\u2026 I considered Corrente to be a phoenix-like rise from the ashes, a distant source of light, the only functioning workshop of ideas, truth and opposition [\u2026] I immediately met Bruno Cassinari\u2026 then gradually Mario De Micheli, Ernesto Treccani, Beniamino Joppolo, Duilio Morosini, Renato Birolli and the others [\u2026] There was also reason for dissonance, which I kept to myself. Their loves and guides were Van Gogh, Ensor and the expressionists, I was on C\u00e9zanne\u2019s side, despite my closed, yet turbulent and romantic nature [\u2026]. I met Alfonso Gatto, Vittorio Sereni, Elio Vittorini and Salvatore Quasimodo [\u2026] I felt I was among protagonists, among everything that acted, that thought, built and opposed [\u2026] those were my years of \u2018Corrente\u2019. I can say that they were my most fruitful and happy years&#8221;.  <\/em><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a532ab2 elementor-widget elementor-widget-text-editor\" data-id=\"a532ab2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><strong>In \u201841 and \u201842 Morlotti took part in the Premio Bergamo (\u201cBergamo Award\u201d).<\/strong><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9f0e934 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"9f0e934\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>His artistic orientations were clear, and he was defining on his own precise, isolated position. In \u201844 he retired to Mondonico. He had already painted intense works, in which his resentful human energy exploded within a forceful material painting, tended to trace, in a completely personal manner, the identified cornerstones of the modern European tradition.  <\/p>\n<p><em>&#8220;I threw myself into a tussle with painting. Little by little I got to the Mondonico landscapes \u2013 dirty, full, geologically incandescent. It was already pre-informal painting [&#8230;]. During the German occupation of Milan, I lived in Mondonico for a few months. From there, I saw the corn growing tall with swollen ears. The sound of the river took me back to my years, it was like a sound of nature urging me [&#8230;] it wasn&#8217;t the tree or the house that interested me, but the sense of panic that I felt flowing in the landscape, the inner resonance of that nature. I owe a lot to my friends: Birolli, Cassinari, Guttuso, during the Corrente period. However, I also owe a lot to these aspects of nature, to the humble fact of everyday life. I wanted to manage to pour this panicked sense of life into the painting and overcome the heroic sense of rhetoric\u201d.<\/em><\/p>\n<p>The war did not pass without leaving a trace. Morlotti became insistently more inclined towards the clarification of extremes, the authentic reasons for him being a painter. Between \u201845 and \u201946, he painted landscapes called <em>Dossi<\/em> (\u201cHummocks\u201d), and works of strong, definitive reflection on Picasso, called <em>La donna che si lava (\u201cWoman washing herself\u201d)<\/em> and <em>Le donne di Varsavia \u201cWomen of Varsavia\u201d)<\/em>. He was actively involved in the cultural life of the time, collaborating with magazines &#8211; <strong><em>Il 45<\/em><\/strong>, <strong><em>Numero<\/em><\/strong>, <strong><em>Pittura<\/em><\/strong> \u2013 and, despite his instinctive aversion to all forms of abstraction, he attempted (<em>\u201cwhat I write or say seems to me a faded, inert reversal of what the long, slow work of the easel accumulated&#8221;<\/em>) a theoretical clarification of his position as painter.   <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5ff56b8 elementor-widget elementor-widget-text-editor\" data-id=\"5ff56b8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>In &#8217;47, he met Lionello Venturi, who got him a scholarship to study in Paris.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0628bf1 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"0628bf1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>He went back there, for a short time, with Birolli.<br \/><em>\u201cI went with great enthusiasm: but it was a great disappointment. I didn\u2019t paint a single painting there, either. The environment was post-cubist and seemed lifeless to me [\u2026] not even a glimpse of cultural magazines. \u2018Cahiers d\u2019art\u2019, \u2018Minotaure\u2019, \u2018Verve\u2019 had disappeared. I began to see only formalism, elegant, yet nauseating, even in the great fathers. Picasso weighed upon me like a drug, Fautrier. De Sta\u00ebl, Wols, Dubuffet: I didn\u2019t understand them. Fortunately, there were also Sartre and Camus: \u201cL\u2019homme revolt\u00e9\u201d marked a big turning point for me. No longer directed towards society but directed towards oneself: oneself as the cause of all troubles. I felt like I had leprosy and was infecting everything. It was a seed that spread and developed very quickly inside me. Goodbye historicism, Marxism, Trotskyism, France, Russia, goodbye Voltaire, Rousseau, Diderot, society, reason, rationality, materialism, dialectic and everything else. Goodbye \u2018le vent se l\u00e8ve\u2019, \u2018La joie de vivre\u2019. Viendra l\u2019heurese surprise! There was only me with my leprosy \u2013 my Picassism \u2013 which I hated like an enemy. I didn\u2019t stay long in Paris; the projects were of no use\u201d.        <\/em>.<\/p>\n<p>In \u201946, Morlotti temporarily joined the \u201cFronte Nuovo delle arti\u201d, a movement that quickly fell apart due to disagreements between its members. He was then part of the <strong><em>Gruppo degli Otto<\/em><\/strong>, but even in this case his participation was very ephemeral <em>\u201c[\u2026] even when I was in the \u2018Gruppo degli Otto\u2019, led by Lionello Venturi, I was unable to adhere to the entire position. And as soon as I grew tired, I withdrew, returning to my things, to the river, to childhood, to the light of my time\u201d.<\/em> <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-78a89cd elementor-widget elementor-widget-text-editor\" data-id=\"78a89cd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Morlotti\u2019s isolation became more pronounced at the beginning of the 1950s.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-be1a28f elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"be1a28f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Dating back to this era were paintings such as <em>La siesta<\/em>, the extreme limit of that labour of stripping of the language of modern painting from which his subsequent image emerged. In the retreat of Imbersago in Brianza, in just a few years Morlotti completed the work that we recognise as one of the most authentic and full of human values of our time.  <em>\u201cIn 1951, I accidentally came across the enchanting landscape of Imbersago. Suddenly, I remembered the hills of Mondonico, which I had completely forgotten, and that charm seduced me so much that I settled there, and there I began to paint \u2018from life\u2019 again [\u2026] I think that my story began in Imbersago: better still, the awareness of my story. At that time, a partnership with Arcangeli and Testori was born by chance: it allowed me to learn about the \u2018Caravaggio problems\u2019, and about the great Lombard painting; the awareness and esteem of Longhi, and the discovery of my roots [\u2026] an American philosopher who I discovered by chance said that even a blade of grass is born from an encounter, from a coitus [\u2026]. From then on, the sunsets disappeared, as did the horizons, the landscapes. I stopped to observe the \u2018details\u2019 of nature. Apples on an apple tree, cob on the corn and insects that crowded the subsoil intrigued me. I began to feel something secret and very mysterious. Reality, behind things; a background and a gravity all around: and something I had never felt, participation in these things. I went through a few years of solitary, passionate work; without projects, without expectations [\u2026] I was very close, without realising, to that which Bigongiari calls \u2018living organism\u2019\u201d.<\/em><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2bb0187 elementor-widget elementor-widget-text-editor\" data-id=\"2bb0187\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>In 1954, the artist displayed five large figure paintings, which were later destroyed, at the XXVII Biennale di Venezia.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-84af2ef elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"84af2ef\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>They were the announcement of the kind of poetics which affirms the identity of figure and landscape, an impetuous metaphor of his idea of painting as involvement, as being in things. Morlotti&#8217;s relationships with European Informalism existed simply as his consonance with the time, as an adherence to an intuition that makes a clean sweep of every pre-established display of value, of every already existing form  <em>&#8220;[&#8230;] I was also strangely close to the true heroes of my generation, all folded in the adventure of the organic and the living: Gorky, De Sta\u00ebl, Pollock [&#8230;]. I could be defined as informal if one takes into account the coincidence that it established, in painting, with the value of instinct. To me it seemed the revolt of life against beautiful things, overly systematic ideas. I felt attracted to a romantic impulse. I wanted to become involved in nature, rather than start looking at it and painting it from the outside [&#8230;]. I did not care about the means in order to achieve my image. I sank into the material to achieve a clarity of language&#8221;.<\/em>.<\/p>\n<p>At the height of the dense season of the fifties, Morlotti shifted his interest to the Ligurian landscape. The encounter was prepared by the internal movements of the artist&#8217;s language: it assumed that <em>&#8220;external point of view&#8221;<\/em> (P.G. Castagnoli) that his previous experience had negated. It was the rediscovery of a dimension of distance from the image after the involvement that characterised the previous work. <em>&#8220;I understood that that abundance of colour [&#8230;] altered the sense of what I wanted to establish. I wanted, and want, to achieve my aspirations of organic density [&#8230;] but now I try not to let myself drown in matter [&#8230;]. It is still the sense of the organic that expresses itself in those landscapes. In Liguria, I came across a beautiful, mysterious undergrowth by chance, different from the nature I saw in Brianza and I began to paint that mystery [&#8230;]&#8221;.<\/em>  <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6e7cb22 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"6e7cb22\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Between \u201870 and \u201875, Morlotti painted large paintings of figures, culminating in the painting <em>Ricordo di H\u00f6lderlin (\u201cRememberance of H\u00f6lderlin\u201d)<\/em>: a comprehensive expression of the motif of the figure and the landscape belonging to the formative humus of painting. Between 1970 and 1977, the series of the <em>Teschi (\u201cSkulls\u201d)<\/em> was created, while at the same time, starting in \u201875, Morlotti began painting using the theme of the Rocce (\u201cRocks\u201d). His image seems to distance itself from his interests in the organic.   <em>\u201c[\u2026] I made the Teschi in commemoration of my friends, such as Arcangeli, like that, and I saw that I was stripping reality of this sap, this vegetation, I don\u2019t know, about this living flesh, so I got to both the \u2018Teschi\u2019 and the \u2018Rocce\u2019 [\u2026]. I had a very simple palette, very used to this green tone that I was good at [\u2026] so I wanted to go back to whites, to yellows [\u2026] it was very difficult for me, and I am still in this bind that I want to escape from, because my dream is to reach the light, the hallucination, that burns everything, I have to get a little closer to death\u201d.<\/em>.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a924c55 elementor-widget elementor-widget-text-editor\" data-id=\"a924c55\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>A new expressive dimension developed in Morlotti\u2019s work on the theme of rocks, that opened up his following painting<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fa5da35 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"fa5da35\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><em>\u201cI also developed this emotion for Rocks because a certain series of Vegetations to which I was attached for physiological reasons had run out, I believed a lot in the organic [\u2026] so, at that time, I had chased the dream of the living organic [\u2026] but for two years I had been lingering on retracing usual patterns [\u2026]. As always happens in these moments, not only did I not want to give up, but I even thought of repairing, of making up for an unsatisfactory, inadequate past, and here too, as always, I had to abandon and fall back, and what\u2019s more on the inorganic. At that time, I remembered a place above Bordighera that from afar had always enchanted me, but I had never gone there. I reached it via a steep path, it was just a few boulders that shone, glimmering and stunning, in the morning sun. I managed to make a few satisfactory small paintings and pastels, and from there on I began to be fascinated by the issue of light, which until then had been secondary. Travelling up and down the Ligurian highway, I was surprised and then enthralled by a circle of mountains between Feglino and Finale. At certain times of the day, in that great timeless space, solitary and silent, they became incandescent, and I went to live there in 1976. The beginning, as always, was difficult and I won\u2019t mention the discouragement and difficulties. I was aware that falling back on that was a defeat, a shipwreck, a desertion; but positive aspects also emerged, later on. First of all, there was a new ghost to chase and pursue; second, a renewed love for nature, the dissolution of indifference and nihilism.         <\/em><\/p>\n<p><em>\u201cIn the meantime, let me wander and pick wild berries to extinguish the love of you on your paths, oh earth.\u201d<\/em><\/p>\n<p><em>Lastly, the third aspect is the analogy with an interest, a passion born in those years for Romanesque architecture, the only passion left. Certain rocks rose before me, amazed, impassive, dazzling like the churches of Plassac, Seu d\u2019Urgell, Jumi\u00e8ges. In short, a new adventure was beginning\u201d.  <\/em>.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c037a1f elementor-widget elementor-widget-text-editor\" data-id=\"c037a1f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>The cycle of the \u201cRocce\u201d was followed by a renewed interest in figures.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4db3c8a elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"4db3c8a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>In the mid-eighties, Morlotti began to paint a series of <i>Bagnanti<\/i>: hey were large figures, plastic, of dense matter, pervaded by light and echoing, in their imposing structure, his love for Romanesque architecture.<span class=\"Apple-converted-space\"> <\/span><\/p>\n<p>\u201c<i>\u201cI studied everything Romanesque for its religiosity, for its simplicity\u2026 yes, I was moved by landscapes, but my late love for architecture was even stronger. Small churches with noteworthy interiors, churches with vaults. At a certain point, I liked architecture more than painting. I looked for the popular Romanesque in France, the proto-Christian church. I had a sense of noticing their great, subdued religiosity. I am not someone who goes in and prays. It has never happened to me. I regarded them as places of private restlessness\u201d.       <\/i>.<\/p>\n<p>At the 1988 Biennale, Morlotti\u2019s large figures amazed the more sensitive critics due to their expressive power and the <i>\u201cpainful, new substance\u201d<\/i> (R. Tassi) that distinguished them. Now, the artist was assiduously, passionately committed to painting the new cycle of the <i>Bagnanti<\/i>. It was a period of fervent, intense work and profound inspiration. Above all, paintings of major dimensions, compared to what Morlotti had ever made before, were produced. The last, large <i>Bagnanti<\/i> by C\u00e9zanne were not a direct reference, but undoubtedly had a part in the artist\u2019s thinking, in his yearning to achieve the absolute fusion of figure and landscape that he had otherwise attempted in previous phases of his work. The paintings in these last years show a harmony between the fundamental themes of Morlotti\u2019s art and even a mutated connection between the different elements of his previous language, to the point where his image arrives to a new, airy sense of space, while powerfully preserving the sense of natural places and time. Some major exhibitions unveiled the poetic heights achieved by Morlotti, and valuable critics, as usual out of the norm \u2013 Tassi and Testori, above all \u2013 welcomed the novelty of this last period of the artist with admiration.      <\/p>\n<p>Morlotti himself clarified the meaning of his work that developed over those years spent in Bordighera and Brianza: <i>\u201cThey were women, figures from many years ago, that I had seen on the lake. Women in pink and blue. They are ancient subjects, they convey the history of painting, from Giorgione to C\u00e9zanne. The nude in the landscape is a fixation that I have always had. Finally, I managed to grasp it. There is no eros, but much calm\u2026 much calm. There is pleasure, but a painting of pleasure, the sensation that living in a world of harmony gives. Looking at those paintings, I saw them almost as if I were happy to live\u201d.<\/i><\/p>\n<p><b>Ennio Morlotti died suddenly in Milan on 15 December 1992<\/b><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a3062f3 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"a3062f3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Gianfranco Bruno, \u201cBiography\u201d, in Gianfranco Bruno, Pier Giovanni Castagnoli, Donatella Biasin, \u201c<strong>Ennio Morlotti. Catalogo ragionato dei dipinti <\/strong>\u201d, Skira, Milan, 2000.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Biography Morlotti, nella sua casa, con un acquerello di C\u00e9zanne Ennio Morlotti con la figlia Paola nella casa di Colle Brianza, 1965 Con Francesco Biamonti, 1976 Latteria Pirovini in via Fiori Chiari, Milano, 1945. Guttuso, Pandolfi, Morlotti, Ajmone e Kodra Velate di Varese, 1960, con Bruno Cassinari, Renato Guttuso e il dottor Enrico Brambilla Pisoni [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-11930","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/pages\/11930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/comments?post=11930"}],"version-history":[{"count":1,"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/pages\/11930\/revisions"}],"predecessor-version":[{"id":11931,"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/pages\/11930\/revisions\/11931"}],"wp:attachment":[{"href":"https:\/\/archiviomorlotti.com\/en\/wp-json\/wp\/v2\/media?parent=11930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}