Nazareno Luzi -Rappresentazione progettata bianco-

Nazareno Luzi, born in Ascoli Piceno in 1939, is a historical exponent of the Immanentist Group. In 1973 ten artists from Ascoli Piceno signed the first manifesto of the Immanentist Group that Diego Pierpaoli had created. In fact, he will be the theoretician and leader of the group. The first exhibition was held in 1974, a few months later, in what was then the Sala delle Colonne (now Sala dei Mercatori) in Piazza Arringo in Ascoli Piceno, which was attended by about half of the artists signing the manifesto. In the following years the Group had other variations, it was characterized by being an “open group”, but continued in its research, endorsed by important critics (Umbro Apollonio, Rosario Assunto, Eugenio Battisti, Arturo Bovi, Fortunato Bellonzi). Other exhibitions were also organized outside the national borders. It was in 1982, then composed of three artists (Diego Pierpaoli, Marisa Korzeniecki, Nazzareno Luzi), that the immanentists took the first step of national relevance. The essay Pittura Immanente was published, edited by Bulzoni, with a preface by Giulio Carlo Argan. Argan himself in Ascoli Piceno to present the essay and inaugurate the Group’s exhibition at the contemporary art gallery (palazzo Malaspina) of the Municipality of Ascoli Piceno. Exhibitions followed at the Palazzo Bosdari in Ancona and the Nino Soldano gallery (Studio Ennesse) in Milan. In the following years, made up of five artists with the entry of Augusto Piccioni and Ettore Le Donne (a maximum of seven with De Cesare and G. Le Donne) the Immanentist Group reached the peak of its activity. Numerous essays and operational manifestos were published. Very important exhibitions followed in public and private spaces such as the Palazzo dei Diamanti in Ferrara, the sixteenth-century castle in L’Aquila, the Palazzo Farnese in Ortona, the Giochi Nuovi bookshop in Rome, the Pagani museum in Castellanza, the Cicconi gallery in Macerata, etc. . All this always with the endorsement of authoritative critics such as Giulio Carlo Argan, Filiberto Menna, Italo Mussa, Vito Apuleo, Giuliano Serafini, Nicoletta Hristodorescu, Claudio Spadoni, Armando Ginesi, Giorgio Cortenova, etc. The Group’s artistic work was extensive: in addition to painting, sculpture, and graphics, it also operated, with examples, in the fields of architecture, music, literature, theater with the spirit of a new Renaissance. This moment of grace lasted until 1987. From that year the members left the Group but the activity remains equally intense especially with numerous other posters and publications. Luzi has carried forward her artistic message both in the representation on a classic support and in three dimensions.