Murer was born in 1922 in Falcade (BL), he made a first apprenticeship
at the Art Institute of Ortisei under Li Rosi's direction.
But the true germination of his future poetics comes from the attendance
with Arturo Martini. It was a short lived relation, lasting not longer
than autumn 1943, until when the teacher and the student had to leave
Venice to follow their opposite ideologies.
end of the war marked a rebirth of all the italian art and Murer took
part in it with the enthusiasm that always marked him. Evidence of this
first period can be found above all in Veneto:
it is only during 1953 that Murer faced, at the Cairola Gallery
in Milan (The courrent artists' official headquarter), the first
real impact with a public of national level, supported by Orio Vergani,
who signed the presentation in the catalogue, and by Renato Birolli
who added a personal critical testimony.The Milanese exhibition and
the constant presence at the Suzzara Prize let Murer enter the national
environment and let him send some works to the international exhibitions.
1972-1973, with the big anthologies in Falcade and Milan (Rotonda
della Besana), Murerís work rised at the highest levels of the critical
attention. The eighties signed for the artist his final consecration
(even if for an artist, as he often said, the "definite",
the final success, the conclusion of a work, the top of the creativity,
are vain and inexistent words because every day you have to pass exams,
and first of all with yourself).
The big anthological exhibitions:
in Ferrara (Palazzo dei Diamanti 1980-81);
He was a man with big lively eyes and a wide, human smile; with strong arms and trunk as the man of the woods as he was. He was a man of plain humanity, generous and rich of intelligence and feelings, absorbed in his history with a sense of high lay religiusness, with wich he always looked at man. This personality of big moral sense is the first source of his characters. These, made of wood, stone and bronze live inside and outside his study in Molino. The most important themes of his poetic song are those of always: the woman, the man, the struggle, the game, the work, the love, the sacrifice, the life and the death.
Popular cantor, he was able to mix sapiently the words of the daily vulgar with the cultured traditional language, reaching results of high effectiveness and immediacy. Inside the culture of Veneto he stays with Noventa, Egidio Meneghetti, Tono Zancanaro, Arturo Martini, Giovanni Comisso and Andrea Zanzotto. For all of them the final aim of the art is to tell about life, about what always happens, which is apparently the same but every time different.
He condemned violence and sang the struggle that takes to freedom and peace. The monument in Vittorio Veneto, in its structural complexity and the figure of the Partigiana in Venice, in its terrible solitude, testify the necessity and the universality of this modern "epos".
freedom of Murerís artistic creation is total, in the sense that thereís
no worry of formal coherence or of group tendency. The severity of every
single work, above all the woods that remain his highest, original and
solemn result, is inside the temporal process that brought to its creation:
every work is a single tree, that one and only that one, but anyway
necessary and complementary to all the others that A. Murer created
for us and for those who will come, during the 50 years of his indefatigable,
hard but happy effort.