200:. He soon developed his own style, inspired by that of his compatriot, Tábara, that fused the tropical nature of his hometown into the informal constructivist geometry, toward the creation of a visual autonomy. In further development, Molinari began to focus on the geometrical optical effects and changing perspectives. He began intense studies of color theory, yet at times explored spontaneity of color and chromatic delusions. In 1977, Molinari was part of an exhibit at
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at the Paris
Biennial at the Museum of Modern Art. In 1964, Molinari took a two-month trip to the United States to study the artworks in museums of major US cities. Intrigued by pop art in America, he saw its infinite possibilities.
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In 1966, Molinari moved back to
Ecuador with the sole purpose of acquiring a visa to move to the United States. During his time back in Guayaquil, Ecuador, Molinari reconnected with old colleagues:
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Like other VAN informalists, Luis
Molinari sought to honor the history of his homeland with a tribute to Pre-Columbian
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where he lived for seven years. While in New York, Molinari became fascinated with the optical geometric (
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188:(Vanguardia Artistica Nacional). Two years later, in 1968, Molinari obtained his visa and moved to
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Ministry of
Education and Culture of Ecuador; principally Castelo, Hernán Rodriguez (n.d.).
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152:. Molinari lived in Paris from 1960 to 1966. In 1963, Molinari exhibited his painting
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and their rich optical effects. From 1951 to 1960, Molinari lived and painted in
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282:This article about an Ecuadorian artist is a
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256:Ecuadorian Library of the Family number nine
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110:1974 painting, Temple of the nuns-Uxmal.
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236:Arte Contemporáneo de Ecuador
184:and began working with their
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363:South American artist stubs
229:MoMA PS1 EXHIBITION HISTORY
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217:Temple of the nuns-Uxmal
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134:Argentina
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136:. In
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