Contemporary Painting Signed Agostino Ferrari Acrylic 1996 - Invasion 1996

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.

Mountain Landscape

Oil painting on canvas. Signed lower left. The Milanese painter Gino Federici specialized in Alpine views, as in this view, where in the foreground a flock of sheep drinks water from a stream, in the wide valley, under steep peaks. The painting is presented in a contemporary frame. It shows signs of previous restoration.

Evento 1987

Acrylic and black sand on canvas. Signature, date, and title on the back. Ferrari's work has developed entirely around the sign, passing through various interpretative phases. Since the 1980s, specifically since 1983, the sign has become the undisputed protagonist of Eventi, works in which he uses writing not to narrate, but to "fix" itself on a "symbol of page time." The sign is completely free of superstructures and is able to express itself in its entirety, manifesting dynamically across the entire surface of the painting. Represented as linear writing, the sign appears as if shouted. These works are created with black sand from Otranto, a material that allows him to express the full theatricality of the sign and which still today represents the fundamental element of his painting: through the sand, the sign traces its paths within the space of the painting and beyond. The work features stains of humidity.

In Nome della Pace sulla Terra 1969

Oil on canvas. Signature, title, and date in Cyrillic on the back. Viktor Petrovich Rudametkin is a Ukrainian artist who has established himself as a landscape painter and colorist. In this work, using his characteristically vibrant palette, he depicts a peasant mother in the middle of a field of sunflowers, a symbol of life and peace, contrasting with the images of military planes streaking across the sky. Created during the years when Ukraine was part of the Soviet Union, the image can be thought of as a call to peace and a message of hope for the artist's native land, still torn apart by the serious conflict with Russia.

Doves 1976

Pencils on paper. Signed and dated lower left. Floriano Bodini, a well-known sculptor, engraver and medallist, considered one of the souls of Existential Realism, has also devoted himself to graphics throughout his career. His production features recurring subjects - Bishops, Cardinals, Requiems, Popes, Doves, Ambos - that express thought, trepidation, sometimes anxiety, but also trust, confidence and faith. The dove in particular has represented for Bodini a constant iconographic element in his artistic research, a theme that has been assiduously present in all his production, not only graphic, since the end of the Sixties, up to the last example dated 2004, emblematically considered his last engraved work. The interest in this image is confirmed among other things by his collection of objects that portray doves or whose shape they recall. The result of a research rich in stimuli from different sources, both cultured and popular, the choice of this image has never been trivialized, but has always maintained its high symbolic and formal dignity. The work proposed here is presented in a frame.

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. 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.

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.