{"id":569,"date":"2023-06-20T11:44:29","date_gmt":"2023-06-20T09:44:29","guid":{"rendered":"https:\/\/tulliovietri.com\/?page_id=569"},"modified":"2023-10-14T16:45:07","modified_gmt":"2023-10-14T14:45:07","slug":"the-40-50s","status":"publish","type":"page","link":"https:\/\/tulliovietri.com\/en\/the-40-50s\/","title":{"rendered":"The \u201940\/\u201950s"},"content":{"rendered":"
Tullio Vietri<\/div>\n

The
40s\/’50s<\/h1>\n
The
40s\/’50s<\/div>\n
These are the last years of the two decades of the fascist period, of the Second World War and the Resistance, of the first post-war period and of reconstruction. For Vietri, these are years of training and experimentation, of maturing ethical and aesthetic choices.<\/div>\n

\"\"<\/p>\n

\n

The long formative-experimental path began with his arrival in Bologna in 1938, where, at a very young age, he met his first maestros, the painters Pietro Pietra and Otello Mombelli. In the following years he encountered Nino Bertocchi, Enrico Protti, Carlo Corsi. He later attended Augusto Maiani\u2019s studio for five years and Ilario Rossi\u2019s Scuola di Nudo (School of Nudes) in the years of the Accademia between 1947 and 1952. His painting production, which from 1943 onwards accompanied the period of secondary school, universitary and academic studies, progressively evolved through the systematic study of the great figurative masters, from Giotto to Masaccio, Leonardo, Michelangelo, Tintoretto, Velasquez and Goya.<\/p>\n<\/div>\n