Luciano Lattanzi was born in Carrara in 1925, where he passes away on 7th August 2010.
He graduates in English language and literature at the Istituto Orientale in Napoli.
In 1957 he publishes, in London, the manifesto of semantic painting, and he exhibits at the New Vision Gallery, and he isconsidered the theoretician and creator of semantic painting,as opposed to Pollock’s and others’ abstract expressionism, as he investigates the instinctive and mechanical pictorial sign regardless of any conditioning.
In 1959 he travels to the USA for a solo show and there he meets Doctor Rhoda Kellogg (Child Art analysis) who had been studying child art for years and who reassures Lattanzi of the existence of an innate gestural language. In fact, basic drawings of children between 2 and 4 years of age, and therefore not yet conditioned by culture or systems,are the same all over the world.
In 1964 he is invited to the XXXII Venice Biennale.
From 1965 on, his way of painting evolves into ornamental painting, in line with the “Neue Ornamentik” of German artist Klaus Hoffman, searching for beauty in the sign itself and pure perceptive pleasure when observing.
He graduates in English language and literature at the Istituto Orientale in Napoli.
In 1957 he publishes, in London, the manifesto of semantic painting, and he exhibits at the New Vision Gallery, and he isconsidered the theoretician and creator of semantic painting,as opposed to Pollock’s and others’ abstract expressionism, as he investigates the instinctive and mechanical pictorial sign regardless of any conditioning.
In 1959 he travels to the USA for a solo show and there he meets Doctor Rhoda Kellogg (Child Art analysis) who had been studying child art for years and who reassures Lattanzi of the existence of an innate gestural language. In fact, basic drawings of children between 2 and 4 years of age, and therefore not yet conditioned by culture or systems,are the same all over the world.
In 1964 he is invited to the XXXII Venice Biennale.
From 1965 on, his way of painting evolves into ornamental painting, in line with the “Neue Ornamentik” of German artist Klaus Hoffman, searching for beauty in the sign itself and pure perceptive pleasure when observing.