“After 1933, Soldati completely abandons figurative painting and moves on to a style of subtle pure geometry. The suggestions are different, especially Mondrian, but also Kandinsky. (...) ... in Soldati there seems to have always been a desire for clarity and order (...), in him the movement is solidified in a static space and therefore Mondrian's influence appears more felt, whose painting was nonetheless a consequence of Cubism and therefore closer to Soldati's origins.
Why, to be clear, Soldati does not reach the moment of absolute abstraction by a simple desire to modernize his vision, to fit at all costs in a more 'European' climate, but for a logical evolution of the post-cubist premises of the previous years, so much so that even in many paintings of this period we find elements that go beyond a rigidly neo-plastic vision, and rather recall the chromatic and material enrichments that Picasso used at the time of synthetic Cubism, and painting seems at times even imitating collage”
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