Painting Work by Hsiao Chin - Horizon, 1962

Mother with Child

Oil on canvas. Signed lower right. On the back there is a cartouche of authentication from "Meeting Art Roma"; with the data of the work, and stamp of provenance from the "Centro Artistico Mercurio, Milan". Giuseppe Migneco, originally from Messina but who moved to Milan when he was young, was one of the major representatives, together with Aligi Sassu, Renato Birolli, Bruno Cassinari, Renato Guttuso, of the Corrente group open to the European artistic avant-gardes. In favor of a painting of social commitment, he investigates reality with a critical, objective, historical eye. His characters with hard, square faces, marked by hard work and rendered with bright and strong tones, recall his Sicily with violent and clear features, but also the social realism of the Mexican muralists. In this work appear his characteristic figures (which could belong to both Sicily and Mexico!) engaged in a very prosaic and realistic activity of popular daily life, that is, a mother who combs and cleans her son's head, probably infested with parasites. The work is presented in a frame.

Relief Painting '58-'68

Mixed media on canvas, with material applications. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, devoted himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerged from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, was the exploration of nature, its components and its phenomena (flowers, plants, sands, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. The work is presented in a frame. From a collection of the artist's family.

Relief Painting, 1958-1968

Mixed technique on canvas, with material and plate applications. On the back there is a label from a Parisian art transport service, with the artist's name: ORAZI's works participated in numerous exhibitions in the French capital, both personal and collective. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, dedicated himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerge from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, is the exploration of nature, its components and phenomena (flowers, plants, sand, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. Often in these works there is a reference to volcanic activity and the material it produces, sometimes expressed in titles such as "Lava Flow", "Volcanic Sands", Volcanic Beaches". The work is presented in a frame. Coming from the artist's family collection.

Relief Painting '58-'68

Mixed media on canvas, with material applications. Signed lower right. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, devoted himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerged from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, was the exploration of nature, its components and its phenomena (flowers, plants, sands, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. The work is presented in a frame. From a collection of the artist's family.

Lovers, 1975 ca.

Oil on canvas. Signed lower left. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, often in an erotic attitude. The work comes from the artist's family's private collection.

Jehovah Ordonnant de sa Main Puissante une Famille Cosmique, 1970

Oil on canvas. Signed and dated lower right. In ORAZI's abstract pictorial phase, his strong inclination to create circular shapes, often knotted or concentric, is often expressed. This tendency becomes central in the pictorial phase of the years 1970-1977, called Ligne Circulaire, in which he abandons creations in relief and the reference to the shapes and impressive events of nature, to instead depict the harmonious dimension of the universe, the birth and movement of the planets, the vastness of the firmament. The colors soften, are rich and at the same time tender. In some paintings ORAZI also depicts fascinating representations of Mother Earth embracing her creatures (insects, birds, flowers) or of the Moon. Or as in this work, he expresses a direct reference in the title to divine creation, depicting "God who orders the cosmic family with his powerful hand". The work comes from the artist's family collection. It is presented in a frame.

Tête-Paysage 1970 ca.

Oil on canvas. Signed lower left. The painting belongs to ORAZI's production from 1970 to 1977. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions): the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, or as in this work, hide a head or a face, often "faunesco". The work comes from the artist's family's private collection.

Figures of Lovers 1975

Oil on canvas. Signed and dated lower right. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, often in an erotic attitude. The work comes from the artist's family's private collection.

Figures, 1975 ca.

Oil on canvas. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or those of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies. Here we can perceive some figures, human and animal, probably mythological, engaged in an erotic plot. The work comes from the artist's family's private collection.

Composition, 1933

Oil on canvas. Signed and dated lower right. Partial label of the Galleria Pesaro in Milan on the back. The work belongs to the first period of the French artist ORAZI (a name he wanted written in capital letters), a period still linked to figurative painting, influenced by the historical avant-gardes, in particular by post-impressionism; already in this first phase, research on color has a dominant place in the representation of characters and objects. In this composition, the red and blue colors of the books, the bottle label, the feather, stand out against the soft and homogeneous colors of the other objects, among which the stone mask dominates the left hemifield. The work comes from the artist's family of origin. It is presented in a period frame.