Piero Dorazio
Panorama diagonale, 1963

In my paintings, painted between 1963 and 1967, the same problem develops, solved through an adequate and properly pictorial technique. This problem consists in creating with a two-dimensional flat surface a state of tension between space and light (colour), effective enough to induce an emotion with a precise meaning in the observer.

Piero Dorazio
Panorama diagonale, 1963
oil on canvas
100,5 x 81,7 cm

Dorazio during his journey in New Mexico,
Arizona and Colorado, 1963
(Photo Virginia Dortch Dorazio)

Piero Dorazio
My best, 1964
private collection

…my paintings are not drawn before being painted... A colored band follows the first and the third the second, leaving to the eye the decision to choose, continue or close the work…

Giacomo Balla, Compenetrazione iridescente n. 4 (Studio della luce), 1912-1913. MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto. Work exhibited in the exhibition The Futurists. Balla Severini 1912-1918, Rose Fried Gallery, New York, 1954. Dorazio wrote an article for Art News

This background works as an open area in space… also along one or all of its sides, or it resurfaces as a caesura or seam, on the entirely painted surface, altering the light of two bands of color which tend to meet along a margin which remains so indefinable and always referred to the original surface.

Giuseppe Pellizza da Volpedo
Il sole, 1904
Galleria Nazionale d’Arte Moderna, Rome

Piero Dorazio
Mano della clemenza (Hand of Mercy), 1963
The Museum of Modern Art, New York