LE ROSE DI SAINT SULPICE

Room 2

Although consistency was not a skill Testori cultivated, it is a fact that his detachment from the paintbrush was definitive for many years. Since the Crocifissione of 1949, if we exclude the rare drawings that appear in the manuscript notebooks, Testori seems to have lost interest in painting and drawing for about fifteen years.
In the mid-1960s, however, his passion for drawing was impetuously reborn from his writing and led him to produce a number of dramatic “portraits” of crumbling roses and, from 1967, a series of watercolours and large drawings dedicated to the theme of sunset marked the return of colour.
That of 1949 proved to be only a long setback and Testori’s pictorial career, far from the dramatic epilogue of Via Santa Marta, began again, impetuous and torrential, never to stop until the end.