The sense of geometry in Morandi’s compositions is a constant that one finds in all the techniques with which he worked. In the watercolours, for example, typical of his late artistic production, the liquid, almost monochrome colour is laid in carefully studied geometric grids and despite losing any outline, highlights the form and volumes through different graduations of tone, in which white also becomes a colour.

From the 1950s onwards, his painting was defined by an alternation of positive and negative, full and empty forms harmoniously linked in conformity with perfect compositional balances and through a skilled use of colour building up the volume of each of the objects. These, presented frontally, remain wrapped in a veil of mystery and poetic silence, vibrating beneath the dazzling action of the light, the substance and essence of all of Morandi’s works.

The works on show in this room present compositions of objects at times represented in monumental subjectivity and other times constricted in an architecture whose shapes interpenetrate and fold back, clenching themselves in compact blocks creating extraordinary variations and chromatic tones within a single range of colours, dosed according to the geometric structure of an intimate chessboard of emotions.