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Il surrealismo di Gianni Dova. Tra spinta etica e sperimentazione linguistica

Cristina Casero


After the Second World War, in a crucial moment for the development of new artistic research, the reference to surrealism, to the language and to the expressive techniques typical of the expressive modes attributable to that cultural knot, permeated some important experiences, placing itself at the basis of innovative experiments. In this context, the experience of the painter Gianni Dova, born in Rome but formed in Milan at the Brera Academy, is a relevant case. Since the end of the 1940s, in fact, when Dova approaches the ways of widespread post-cubism, also experimenting with linguistic research that brings him closer to concrete art, a surrealist vein runs through his paintings. At the beginning of the new decade, Dova embarks on a personal path, closely linked, however, to many contemporary experiences, and the surrealist model in his ways becomes more explicit. This paper intends to reflect on the reasons that pushed Dova towards surrealism, from his youth to the mature season of his painting.