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Goldschmiedt’s earliest pictorial experiences date from the 1960s and were inspired, as he stated himself, by Roberto Crippa, who was also his friend.

They consist of a series of elegant and refined collages and mixed-media works, abstract in tone and clearly graphic in origin, in monochrome chiaroscuro or a few shaded colours.

Many years later, in 1975, following the preliminary experiments of 1974, Goldschmiedt established the “definitive form” of his painting based on the technique of nitroacrylic spray colours.

This period saw the production of his first cycles, Gli Anonimi. The subjects of these works are simple and primary organisms, which are immature and pale forerunners of his future figures. They resemble wavering, trembling sea anemones in an aseptic and unadorned submarine landscape with a few vaguely anthropomorphic hints.

His successive theme was much more structured and imbued with more feelings and subtleties. It is entitled Adleraidi, marking the start of an imaginative play on words, for the title is derived from Adler, “falcon” in German, and encompasses a series inspired by birds. In several cases the original nature of these paintings also lies in their hexagonal format.

This group of works, already mature and imbued with self-awareness, clearly prefiguresthe artist’s future inventions and creations. Indeed, over the next few years Goldschmiedt devised what were to become his usual and highly personal themes, inserting in space the still embryonic images of his living characters.

In 1979 he produced the Hippoteticamente Reale cycle of paintings, playing, as he is often wont to do, on the dual meaning of the word “hippoteticamente”, using it to sum up both the image of the most emblematic figure of the exhibition (the horse) and the basic premise of his pictorial quest (relating not only to that particular creative moment, but more generally too): the proposal of a “Hypothesis of reality”.

The cycle is formed by five large-format paintings whose iconography is identified with slightly earlier or contemporary works, such as In Presenza del Giudice Supremo (cm 97x130), which marked a fundamental turning point in the artist’s style and outlook, particularly for its airy, open and spacious layout.

The bellicose and dazzling theme uses a bright ­and resonant palette and features extremely dynamic and spectacular views, completely detached from all contingent references.  Paintings such as Kyrie, kyrie! constitute a huge and marvellous fresco of Star-Wars-style grandeur, albeit fought on horseback. The noble beast is and remains the most identifiable and legible figure, which is the least deformed and deviant. In fact – and this too may be a sign of particular respect and regard – the limbs of the steed often mingle and merge with those of the rider, which is sometimes man and sometimes beast, depending on the artist’s mood and creative impulse. 

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