Mino Argento


Mino Argento was born in Rome, Lazio, Italy on January 5th, 1927 and is the Painter. At the age of 97, Mino Argento biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

Date of Birth
January 5, 1927
Place of Birth
Rome, Lazio, Italy
97 years old
Zodiac Sign
Mino Argento Height, Weight, Eye Color and Hair Color

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Mino Argento Life

Mino Argento (born January 5, 1927) is an Italian painter who mainly depict abstract themes on canvas and paper.

Life and work

Mino Argento was born in Rome, Italy. He began working as an architect and first exhibited paintings at a 1968 exhibition at Gallery Astrolobio in Rome curated by Marcello Venturoli.

Argento, a figurative painter, was a painter before his arrival in 1969 in New York City. He left Italy because of his inability to paint in a figurative manner, which he regretted in Europe. America seemed to him that it had other possibilities.

Argento presented one of his first one-man exhibitions at the Livingston-Learmonth Gallery in 1974, after moving to New York. Argento was the gallery's opening artist. He had also been represented in London, England, by Nigel Greenwood, who was born in 1974. Betty Parsons will represent him by 1977. Frank Stella, Richard Pousette-Dart, Ronald Davis, Ruth Vollmer, Jack Youngerman, Marino Marini, Giorgio de Chirico, and Shusaku Arakawa were all among his works throughout the seventies. After his death in 1982, Stephen Gordon's work appeared in 1983 as part of one of the last shows at the Betty Parsons Gallery.

Argento also worked in oil and canvas collage in the 1960s. He began applying an acrylic gesso to canvas in the 1970s and 1980s, but it would rarely cover the canvas's dull surface. He was confronted with the ambiguous subtleties of positive-negative space's interplay. Argento loved exploring the hardness and aridity of penciled lines with sensuous layers of oil. He'll make up the white gesso by adding oil paint at times, until it could almost be mistaken for collage. He varied the thickness of drawn lines, giving an unusually sensitive feel for various forms of mass. Argento crafted up his delicate surfaces, which were so fragile that every gesture was vital, layer after layer of granular gesso, delicately balancing the tone values of the medium against the intensity of his pencil line. These high-key paintings are not about "being white," but rather worried about the absence of color, using oil, acrylic, and occasionally graphite in conjunction with the gesso. His drawings are characterized by a sense of geometry, despite his architectural heritage.

In 1968, Marcello Venturoli wrote:

In 1974, John Gruen wrote:

Ellen Lubell wrote in Arts Magazine in 1975

Noel Frackman wrote in Arts Magazine in 1977: "Noel Frackman" was an artist.

Michael Florescu wrote in Arts Magazine in 1977: "In 1977, Michael Florescu wrote: "In 1977, Michael Florescu wrote in Arts Magazin

Nina Frénch-Frazier wrote in ARTnews in 1977

Michael Florescu's first essay in Arts Magazine in 1980: "In 1980, Michael Florescu w

In 1988, Cathy Curtis wrote in the Los Angeles Times: Cathy Curtis wrote in the Los Angeles Times: "Cathy Curtis wrote in the Los Angeles Times: Cathy Curtis wrote this articl

Contemporary Italian art on view in a group exhibition. In 50 pieces of sculpture and painting, twenty-eight artists are included. Mino Argento's painting wars with the infinity of space in the subtle shades of background color, making it particularly enjoyable.

White Heat, Calcagno's 1962 painting, has a fluid yet difficult surface that suggests both Clyfford Still and Franz Kline. In this exhibition, sculpture for the most part appeared much more polished than painting, but Gio Pomodoro's huge bronze slabs in Contatti, 1970, brought an authentic sense of excitement and anticipation. This reviewer was disappointed to discover that nearly all of the early twentieth century's avant-garde, such as Boccocci, Giorgio de Chirico, Marino Marini (sculptor), Giorgio Morandi, and Gustavo Foppiani had been on brief loan from private collections.

The omission resulted from a failure to link two groups of artists living on opposite sides of the Atlantic continent without contact or recognition, yet both artists are free of established or general definitions, and schools are described as "fourteen painters" each with their own unique yet complementary spatial theories. Although the collection was limited, it was enough to spark a contemporary break both with Minimal Art's geometric language and optical art. Space is no longer coherence, but heterogeneity coexists. In the entire range of canvasses shown, a coexistence is expressed as clearly as in individual works. Jean Allemand, Shusaku Arakawa, Mino Argento, Juhana Blomstedt, Ronald Davis, Maxime Defert, Patrick Ireland, Patrick Ireland, Barry Le Valiant, Philippe Morisson, Georges Noel, and Frank Stella. To say that this is a revival of illusionism means only speaking in terms of representation, not in situations of intensity and control rather than of form. Both studies on both sides of the Atlantic unknown, as well as the painters involved, are the best evidence of their importance, as if pictoral space's modernism were no longer relevant to flatness, it was now an exploration of its own intensities.

Argento was involved with a large group of American artists in donating a substantial series of paintings, sculpture, and graphics as a sign of international unity after the 1976 Friuli earthquake. The initiative of the Friuli Art and Monuments (FRIAM) committee arranged the acquisition of the works (Project Rebuild). This exhibition exhibit is a crucial contribution to the boosting of Italian-American relations. The works, which were donated by over a hundred "American Artists" to Friuli's earthquake-ravaged towns, are set to cohabit in a permanent collection.