La Plata, Argentina, 1915
Luis Tomasello lives and works in Paris. A fascination with 'light and the movement of light, in other words colour' has been Tomasello's constant preoccupation over a career that spans more than 55 years. The discovery of Mondrian and a visit to the Chartres cathedral's stained-glass windows led him to settle in Paris in 1957 and join the Galerie Denise René in 1958. Since then, he has developed his trademark series of Chromoplastic Atmospheres, grid-like white wood reliefs with brightly painted backgrounds creating halos of vibrating colour on white backgrounds. In other series such as Plastic Objects he explored the effect of light on a black surface while maintaining a strict grid-like structure. 'I am interested in the reflection of colour, it is like trying to define the moon', he said to his friend the great Argentine writer Julio Cortázar, with whom he also produced the book-object "Negro el 10" first published in 1984.
La Plata, Argentina, 1931
Paternosto´s mature pictorial development has an "exemplary dimension in the most positive sense that can be given to the term, its nature as a paradigm of present modernity."
(...) "I hope that this expression, 'present modernity', is not too difficult to understand. It implies an understanding of the contemporary which is imbued with the very historicism which in turn imbued the modern movement in the past. But not only as an exercise in memory and continuity, but rather as an exercise in discrimination and analysis. In delving deeper."
(...) "the work by Paternosto (...) might be understood as the prolongation of that Newman´s late work ('Profile of Light', 1967; collection Museo Nacional Centro de Arte Reina Sofía). The white at the middle appears to have widened so much as to have pushed the lateral bands of color towards the margins of the canvas, even away from the flat surface, taking refuge on its borders or edges. this displacement had pointed out to the three- dimensional quality of the painting, towards its physicality, its objecthood. Thus Paternosto would insist, as did other American artists of his generation, in going beyond the dichotomy painting and sculpture, between pictorial space and sculptural space, and given his reductive drive, would arrive at a sort of ultimate limit of the plastic form."
Tomás Llorens, "Menos es más si es más" (Less is more if it´s more) in César Paternosto exhibition catalogue; Segovia: Museo de Arte Contemporáneo Esteban Vicente, 2004
(Translation Deborah Bonner)