Composizione

Just a few, rigorously geometric forms interlocking on the small-scale surface of the painting. They are filled by a red and a black, a purest white and a tenuous aquamarine. No sort of chiaroscuro, internal to any of the forms: colours, all of them, didactically pure, conveying no trace of feeling of atmosphere.
This was a year that could be called formative, in which Turcato moved definitively beyond the ambiguous neo-Cubist syntax that had marked his debut together with his younger comrades in the Forma group; instead he matured the more integral abstract logic he had come to know in Paris in contact with Magnelli, Arp and the whole school of neo-concretism, which preached a kind of painting utterly detached from nature and its models. But this was a choice of language that Turcato would soon forsake, the very next year returning to his fruitful balancing act between images that were basically unrelated to existing reality, founded strictly on the rhythm of heraldic, trumpeted colour, while his content was still bound up with the themes of social struggle and engagement suggested by his political faith.