Bruno Munari

Bruno Munari (Milan, 24 October 1907 - Milan, 29 September 1998) was "one of the leading figures in 20th century art, design and graphics", giving fundamental contributions in various fields of visual expression (painting, sculpture , cinematography, industrial design, graphics) and non-visual (writing, poetry, teaching) with a multifaceted research on the theme of movement, light and the development of creativity and imagination in childhood through play.
Bruno Munari is Leonardo's figure among the most important of the twentieth century Italian. Together with the spatial Lucio Fontana, Bruno Munari, the very perfect dominates the Milan scene of the fifties and sixties; these are the years of the economic boom in which the figure of the operator-visual artist is born, who becomes a business consultant and actively contributes to the post-war Italian industrial rebirth.
Munari took part very young in Futurism, from which he detached himself with a sense of lightness and humor, inventing the aerial machine (1930), the first piece of furniture in the history of art, and the useless machines (1933). In 1948 he founded the MAC (Movimento Arte Concreta) together with Gillo Dorfles, Gianni Monnet and Atanasio Soldati. This movement acts as a coalition of the Italian abstractionist perspectives proposing a synthesis of the arts, able to combine traditional painting with new communication tools and able to demonstrate to industrialists and artists-artists the possibility of a convergence between art and technique. In 1947 he created Concavo-convex, one of the first installations in the history of art, almost coeval, although earlier, to the black environment that Lucio Fontana presented in 1949 at the Galleria Naviglio in Milan.
It is the clear sign that the problem of an art that becomes an environment is mature, and in which the user is solicited, not only mentally, but in a multi-sensorial way.
In 1950 he made the painting projected through abstract compositions enclosed between the slides of the slides and he breaks the light thanks to the Polaroid filter, creating in 1952 the polarized painting, which he presented at the MoMA in 1954 with the exhibition Munari's Slides.
He is considered one of the protagonists of programmed and kinetic art, but escapes the multiplicity of his activities and his great and intense creativity to every definition, to every catalog, with a very refined art.