Established in 1933, “Campo Grafico” was not only innovative but revolutionary. The magazine completely overturned the motifs and preconceptions underlying graphic art in Italy at the time, broadening its horizons to comprise new creative landscapes such as the Bauhaus and contemporary art by Mondrian, Picasso and Kandinsky.
It was founded by Attilio Rossi (1909-1994), an artist who was propelled through the 20th century by his incessant research, and who cultivated friendships with some of the greatest cultural icons of the 1900s, including Carrà, Veronesi, Sisnisgalli, Modiano, and Fontana.
The publication defined itself as “The aesthetics and graphic technique magazine”, and set out with the goal of showcasing “the constant changes in trends and media in this time of fertile progress”. Its 66 issues reflect an abrasive and argumentative approach, especially against “Risorgimento Grafico”, the conservative competition that the editorial team of “Campo Grafico” considered unbearably pompous and academic.
There was even a column – titled “Rassegna del Brutto” (“Review of Ugliness”) – dedicated to criticizing graphic works that lacked the kind of “progressive” energy that fired up the pages of the Milan-based periodical.
“Campo Grafico” shut down in 1939.