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Departing from his earlier figurative works and engagement with
Futurist ideals, Italian painter Osvaldo Licini (1894-1958) turned
away from realism in 1940 and painted only abstract works from then
on. His paintings from that fruitful decision engage in a
surrealist language of precise lines, solid colors and pregnant
signs; colors and signs that Licini viewed as expressions of
energy, willpower, ideas and magic. This catalog of Licini's show
at the Peggy Guggenheim Collection in Venice, the most
comprehensive monograph of his work, marks the 60th anniversary of
his death. That same year, Licini won the National Grand Prize for
Painting at the 29th Venice Biennale, where he had shown 53
works--executed between 1925 and 1958--in a room of his own,
mounted by Carlo Scarpa. This catalog gathers his complete works,
including those displayed in that same venue 60 years prior to this
2018 show.
Published to accompany the first time the Luigi and Peppino Agrati
Collection will be revealed to the public; the collection can be
viewed between May and August 2018. During the Festival of Nouveau
Realisme (New Realism) in Milan in November 1970, Christo removed
the white cloth in which he had wrapped the Monument to Vittorio
Emanuele II in the Piazza del Duomo and placed it over the Monument
to Leonardo da Vinci in the Piazza della Scala. This is viewed
today as a key event in the contemporary art scene in Milan, a
moment that Luigi and Peppino Agrati experienced live. They
immediately contacted the artist and commissioned him to create
works for the garden of their villa. Wealthy entrepreneurs, the
Agrati brothers shared subtle and sensitive insights into art that
fostered a deep understanding of the images that shaped their era.
This show is the first time their collection is being revealed to
the public, through a representative selection of Italian and
American works of art donated with generosity and foresight by
Luigi Agrati to the Intesa Sanpaolo. From a nucleus of sculptures
by Melotti to masterpieces by Fontana, Burri, and Klein, the
exhibition provides an in-depth examination of Italian 'Nuova
Figurazione' painting ('New Figurative Painting'), working its way
to the roots of the new 'Arte Povera' ('Poor Art'). The discovery
of American art coincides with the Agratis' acquisition of works by
the principal exponents of Pop Art - including the iconic Andy
Warhol and his monumental Triple Elvis - and by the Minimalists, of
which Dan Flavin's large neon work dedicated to Peppino Agrati is
emblematic. In a kind of multiple constellation side by side with
examples of Italian art, the collection reveals extraordinary works
by Robert Rauschenberg (acquired in large numbers from the end of
the 1960s to the 1980s), Cy Twombly (the original mediator between
American and Italian art), and conceptual artists like Bruce Nauman
and Joseph Kosuth, whose experiments with language are displayed in
a dialogue with those by Alighiero Boetti and Vincenzo Agnetti.
Franco Angeli was one of the leading figures in the Italian art of
the post-war period. Often labelled superficially as Pop, he is
revealed here, through new documents and studies, as an artist who
took a surprising and unprecedented approach to his work. He made
his debut in the fifties in a still little-known experimental Roman
laboratory where the new generations encountered the masters of
Italian art.This book reconstructs the stylistic and artistic
reciprocities and the relations of Angeli with his friends and
colleagues up until the sixties, a time when, with his attainment
of an existential image that was at the same time deeply polemical
and provocative, his work developed along versatile lines, in an
original dialogue with the international context.
Tornabuoni art returns to the origins of sculptor Arnaldo
Pomodoro's work (1926, Morciano di Romagna), specifically to the
years 1956-1965, a pivotal period of the artist's production. His
creations, initially derived from the goldsmithing produced side by
side with the brothers Gio and Giorgio Perfetti, evolves towards
small concrete and lead reliefs, then in large mural panels
engraved with illegible glyphs, inspired by Mesopotamian tablets'
cuneiform writing, Egyptian papyruses and Paul Klee's graphic
style. In 1960, Pomodoro was among the founders of the group
Continuita, next to Novelli, Consagra, Tancredi, Dorazio and
Fontana, preaching an 'aesthetic of continuity', defined as 'the
absence, the incertitude of limit' and attached to the formal
aspects of artworks. He thus produced his first Sfere, adopting
gilded polished bronze as his preferred material of work, and of
which the creation marks the definitive transition to monumental
scale of his career. Today, Pomodoro's creations can be found in
prestigious museum collections such as the Guggenheim in New York
and the Vatican Museums. Moreover, his monumental artworks are
exhibited in more than 40 public squares in major cities around the
world. The artist lives and works in Milan, Italy. Text in English
and Italian.
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Lucio Fontana - Sculpture (Hardcover)
Lucio Fontana; Text written by Luca Massimo Barbero, Cristina Beltrami, Paolo Laurini, Maria Villa; Edited by …
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R1,405
Discovery Miles 14 050
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Ships in 12 - 17 working days
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An extraordinary selection of works and a lavish set of
illustrations reconstruct in an intimate and thorough way the brief
but dazzling trajectory, between creative output and unbridled
emotion, followed by Tancredi Parmeggiani, a great exponent of
postwar Italian art. From his academic debut to the lyrical
colorism of the early days, and from the experimentation typical of
nonrepresentational spatialism to his period of gestural
abstractionism, culminating in the visionary aesthetics of the
sixties and characterised by uneasy and tormented figurations, this
book reconstructs all the phases of his career.
A seminal experience on the Italian art scene of the 1960s. At the
height of the economic miracle of the 1960s, artistic experiments
in Italy kept following one another, mixed and merged with an
extraordinary speed and intensity.The common aim was to emerge from
the disillusionment of the postwar period to build a new vocabulary
of signs and images, able to restore the ferment of society and
contemporary culture. The book is dedicated to the propositional
wealth of that decade, based on a new perspective on the Italian
art of those years.The artists represented include Franco Angeli,
Domenico Gnoli, Giosetta Fioroni, Tano Festa, Michelangelo
Pistoletto, and Mario Schifano, creators of a new and original
direction that typified Italian art in that period, of which the
book offers ideas, studies, and curiosities.
Published in association with the Peggy Guggenheim Collection and
the Fondazione Cassa di Risparmio di Modena, this catalogue
presents unpublished and remarkable photographs that will take
readers on an extraordinary journey through the artistic milieu of
the Venice Biennale from 1948 to 1986 featuring artists such as
Leger, Ernst, Picasso, Mattisse, Dali, Fontana, Beuys, Oldenberg,
Lichtenstein and Rauschenberg. In their time these photographs were
featured in magazines such as Time and Life. Today, this repertory
of photographs forms a remarkable contribution to the history of
post-war culture. These photographs, depicting the most influential
figures in modern and contemporary art, capture the artistic
climate and fervour of the period in question and document the
historical phases of the world's most prized international art
exhibition.
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Lucio Fontana
Enrico Crispolti, Luca Massimo Barbero
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R1,036
Discovery Miles 10 360
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Ships in 12 - 17 working days
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Lucio Fontana (1899-1968), is universally acknowledged as one of
the foremost figures in the generation of artists who, in the 1950s
and '60s, helped bring about a radical conceptual and linguistic
change in contemporary art. The role he played was explored by
scholars and critics in the early years of the post-war period, and
his work constituted a model for the younger generation of artists
in Europe. In the past two decades, Fontana has achieved
significant international renown. The essays in this catalogue by
Enrico Crispolti, Luca Massimo Barbero, Caterina Toschi and Piero
Dorazio offer insights into the origins and characteristics of
Spatialism, the artistic movement Fontana founded, which
synthesised colour, sound, space, movement, and time into a new
type of art. Text in English and Italian.
A new privileged point of view and an original take on the
evolution of Fontana's oeuvre through his complete graphic work.
This catalogue raisonne of the works on paper by Lucio Fontana
(1899-1968) is one the most complete and cutting-edge publications
on the work of one of the leading protagonists of the
twentieth-century's artistic development. Experimentation on paper
was Fontana's chosen means to test the richness and novelty of his
inspiration.
This catalogue raisonne covers four decades of this creative
activity, starting with the astonishing corpus of figural works and
culminating in his original invention of spatial art, which led to
the creation and development of the highly individual "holes,"
"environments," and "slashes." The study includes extensive and
heretofore unpublished documentation on Fontana's dialogue with
architecture and decoration and his experimentation with unusual
techniques and materials. Including more than 5,000 works executed
between 1928 and 1968, with individual entries that include
bibliographical and exhibition reference, this volume is an
essential and updated tool for scholars, collectors, museum
operators, and art dealers who wish to become thoroughly familiar
with Fontana's oeuvre.
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