I think of Domenico Gnoli as the anti-Morandi. Gnoli, an Italian artist who died in 1970, when he was only 36, depicts the faintly comic reality of petit-bourgeois life in post-war Italy. There’s more than a hint of Fellini in these two paintings of embodied clothes, on view in a rare Gnoli show at Luxembourg and Dayan in New York. Whereas Giorgio Morandi, as I’ve argued before, seems to deny that side of his life – thus revealing it even more fully as a faintly oppressive force.
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