Klamauk 1998 ca.

Olio su tela. Firmato in alto a sinistra. In basso a destra presente il titolo ("buffonata"). Al retro sul telaio ulteriore firma, il timbro dell'artista e datazione. Maria Mesch, artista di origine tedesca ma stabilitasi a Milano, ha sviluppato e curato le attività di esposizioni e eventi legati al mondo dell'arte, occupandosi anche dell'organizzazione di spettacoli musicali, teatrali, performativi e multimedia con particolare attenzione a tutto quello che si muoveva nell'ambiente dell'underground e delle autoproduzioni indipendenti. Maria Maria dipinge strane, colorate e divertenti forme su quadri su tela o in plexiglas. Lascia alla libera interpretazione dello spettatore interpretarli e dar loro valore.

Metaphor of Life 2008

Tecnica mista su tela. Firmato e datato in basso a sinistra. Al retro ulteriore firma, data e il titolo. L'artista Gianpietro Cavenaghi, che vive e lavora nella provincia lecchese, utilizza una tecnica peculiare, materica, che ben si vede anche in quest'opera: sulla tela di base realizza il fondo con una stabilitura di cemento in cui inserisce altri materiali, spesso "poveri" quali il cartone (qui si vede il cartone ondulato), la carta, la plastica, che rendono la composizione decisamente materica. Spesso altri materiali sono aggiunti sopra le figure, come ad esempio i glitter in quest'opera. Le sue opere, pur essendo figurative, hanno sempre una valenza metaforica: il torero che giostra con il toro rappresenta per Cavenaghi la metafora della vita, metafora che lascia interpretare allo spettatore.

Band Group 1977

Oil on canvas. Signed and dated lower right. Additional signature, date, and title on the back. Also included is the cataloguing label from Quadreria Campari, where the work originates. Acquaviva is a creative artist; he sees people as brightly colored dolls—"ruddy" not "fat" as he himself specified—and the world as a fairytale. Not out of any form of protest, but rather to escape into the free dimension of fantasy, to escape adulthood, to return to a childlike state, forever. His works portray everyday life as a grand, pleasant illusion in the constant enchantment of poetry. This "Gruppo Bandistico" also echoes this festive, fairytale, and serene vision of everyday life. Framed work.

Self-portrait 1987

Oil on canvas. Signed lower left. On the back is a label from the Ponte Rosso Gallery, containing the title and date of the work. There is also a label certifying participation in the 1990 exhibition at the Permanente in Milan. The work comes from the Campari corporate collection. The painting of Attilio Rossi, who was also an important graphic designer and cultural promoter, ranged from abstract art to hyperrealism, reaching the frontiers of the most advanced figurative art. In the final period of his career, to which the work presented here belongs, his docks, still lifes, and self-portraits gave way to the great cycle of metaphysical painting. The work is presented in a frame.

Ride in the Woods 1955

Oil on canvas. Signed lower left. The work was exhibited at the 1955 exhibition at the Palazzo della Permanente in Milan (participation label on the back). Born in Palermo but trained in Milan, Gian Rodolfo D'Accardi debuted in the 1930s, achieving widespread success throughout Italy. His work ranges from landscapes to portraits, still lifes to masks: vaguely post-impressionist in nature, his art expresses itself with vibrant, harmonious colors and imaginative forms, imbued with poetic intensity. Among his favorite subjects is the vast and varied series of horses and riders in the woods, to which the work presented here also belongs. The work comes from the Campari company collection. Presented framed.

The Darsena 1966

Oil on canvas. Signed and dated upper left. Small label at lower left with the title and an exhibition number. From the Campari corporate collection. Attilio Rossi, who was also an important graphic designer and cultural promoter, ranged from abstract art to hyperrealism, reaching the frontiers of the most advanced figurative art. In his final period, to which the work presented here belongs, his docks, still lifes, and self-portraits gave way to the great cycle of metaphysical painting. The work is presented in a frame.

Procession I, 1982

Oil on canvas mounted on hardboard. Signed and dated lower right. Title on the back. From the Campari corporate collection. Venezuelan artist Fernando Wamprechts is considered an exponent of "neo-expressionism" a pictorial movement that reclaims the human figure, but through a simplified and often elementary figuration, combined with a violent and highly expressive palette, to convey a tragic sense of humanity and history. In his works, set in a scenographic space dominated by many white spaces, his stylized figures emerge like splashes of color, suspended without gravity and perspective. The work is presented in a frame.

Figures 1960

Oil on canvas. Signed lower left. Title and date on the back. Paolo Schiavocampo is an eclectic artist who has created drawings, paintings, collages, assemblages, concrete works, and sculptures, demonstrating a dynamic and original approach without identifying with any particular movement. A defining feature of his work is the relationship between painting and sculpture, dialectical components of the artist's original imaginative vision. Schiavocampo has always oriented his artistic research toward the exploration of plastic spatiality, which culminated, particularly from the late 1980s, in tempera drawings and in works from the end of the decade based on the use of sculpture waste materials such as powders, polyurethane, paper, and solvents. Presented framed.

Group of eight black-and-white photographs. The artist's stamp and signature are on the back. The prints are untitled, but some are related to series by the photographer, particularly the "Hands" series.

Rosa Marina

Oil on canvas. Signed lower right. Title and additional signature on the back. Venetian painter Gelindo Baron is considered an exponent of "Lyrical Abstractionism" with a body of work that manages to be simultaneously figurative and abstract, in which color is the dominant element. Presented framed.

Outskirts

Oil on canvas. Signed lower right. The artist's label with the title is on the back. There is also a note declaring that the work was donated by the artist to Davide Campari - Milano SpA in 2001, from whose collection it actually comes. Temistocle Scola is a Livorno-based artist who, after an initial approach to plein air painting and some experimentation with informal and surreal art, developed a style in which the pictorial representation becomes a "landscape of memory", reconstructed through the artist's emotions. The work is presented in a frame.

Little Blue House (at the Port)

Oil on panel. Signed lower left. On the back are the title, a further signature, and the stamp of participation in the National Extemporaneous Painting Competition, Premio Marina di Ravenna. Livorno-born painter Giuseppe Cavallini, drawing on the stylistic legacy of the Macchiaioli, has established his own expressive language, rich in color and pathos. Cavallini captures light with the power and gestures of his Livorno heritage, using color as a litmus test for his emotions. The work is presented in a frame.

Female Face

Mixed media on cardboard. Signed lower left. The work comes from the private Campari collection, for which Marangolo worked as a graphic designer in the 1960s and 1970s, creating several advertising campaigns. For his graphic designs, he often drew inspiration from the faces of famous actors and actresses, particularly Audrey Hepburn, whose elegant figure is also reflected in this portrait. Framed.

Untitled 1984/86

Oil on canvas. Signature and date of creation on the back. From the Campari corporate collection. Giorgio Nannei, an artist originally from Parma but active mainly in Milan, creates abstract works with geometric figures. The work is presented in a display frame.

Landscape with Pair of Figures

Oil on canvas. Signed lower right. Additional signature on the back. Influenced by his exposure to Expressionism during his Parisian years, Fantuzzi placed a strong emphasis on the expression of emotions and moods in his works. Color dominates his canvases in its boldest palette, usually cool tones of blue, green, and purple, creating sometimes violent contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communicating in interpersonal relationships; he often paints poorly defined figures and eyeless faces. The work is presented in a frame.

Still Life with Figure

Mixed media on hardboard. Signed lower right (on the transverse band of the table). Gennaro Picinni, who in his early years created works bordering on surrealism and abstraction, later developed a distinctive style that earned him the nickname "Flemish of Puglia": he uses pure, often textured colors on a Flemish-inspired graphic design, clearly evident in this composition, a still life, behind which, however, appears a faceless human figure, decidedly surreal in nature. The work is presented in a frame.

Black and white photographs. The photographer's stamp is on the back. Vittorio Pescatori was a photographer, but also an artist and writer. He often used photography to illustrate his books or as a base for "painting", spreading almost transparent colors over it. This series, as indicated by the pencil writing on the back, contains six shots taken during his travels in the Maghreb, specifically of the city of Tozeur in Tunisia, where the artist lived for a time, and of Larache, a small town in Morocco. The photographs come from a private collector.

Boats

Oil on panel. Signed at the bottom. Title on the back. Gennaro Picinni, who in his early years created works bordering on surrealism and abstraction, later developed a distinctive style that earned him the nickname "Flemish of Puglia": he uses pure, often textured colors over a Flemish-inspired graphic design. The work is presented in a frame.

Aeolus, king of the winds...

Mixed technique (ink and pencil) on paper. Signed lower right. The page title "Eolo, re dei venti, uomo di squisita ospitalità" and the page number (N.29) are indicated in pencil. This is an original illustration created by the great cartoonist and illustrator Sergio Toppi, likely for a comic book story, as the page number indicates. Sergio Toppi is one of the great masters of comics, considered by critics to be an absolute master and a pioneer of international comics, recognized worldwide for his unmistakable style, which we also find in this page. His unique style has above all broken down the rules of the classic vignette to make room for a contemplative visual flow, which makes the narrative more fluid and leads him to construct worlds suspended between historical realism and the magical dimension. Also distinctive is the frequent chromatic choice of contrasting black and white, which becomes an important expressive tool, although Toppi also knows how to use color expertly. It has been said that "each Toppi panel is a comic within a comic, each page of his work a work within a work capable of achieving a unique emotional power and communicative value.

Comic Book Drawing

Mixed media (ink and pencil) on paper. Signed center left. The plate title "The little fish said to Manu: Save me and I will save you" and the plate number (N. 30) are indicated in pencil. This is an original illustration created by the great cartoonist and illustrator Sergio Toppi, likely for a comic book story, as the plate number indicates. Sergio Toppi is one of the great masters of comics, considered by critics to be an absolute master and a pioneer of international comics, recognized worldwide for his unmistakable style, which we also find in this plate. His unique style has above all broken down the rules of the classic vignette to make room for a contemplative visual flow, which makes the narrative more fluid and leads him to construct worlds suspended between historical realism and the magical dimension. Also distinctive is the frequent chromatic choice of contrasting black and white, which becomes an important expressive tool, although Toppi also knows how to use color expertly. It has been said that "each Toppi panel is a comic within a comic, each page of his work a work within a work capable of achieving a unique emotional power and communicative value."

Illustrated Artwork

Mixed media (ink and pencil) on paper. Signed lower center. The plate title "Stealing is also exploiting the natural resources of underdeveloped areas..." and the plate number (N.55) are indicated in pencil. This is an original illustration created by the great cartoonist and illustrator Sergio Toppi, likely for a comic book story, as the plate number indicates. Sergio Toppi is one of the great masters of comics, considered by critics to be an absolute master and a pioneer of international comics, recognized worldwide for his unmistakable style, which we also find in this plate. His unique style has, above all, broken down the rules of the classic vignette to make room for a contemplative visual flow, which makes the narrative more fluid and leads him to construct worlds suspended between historical realism and a magical dimension. Also distinctive is the frequent chromatic choice of contrasting black and white, which becomes an important expressive tool, although Toppi also knows how to use color expertly. It has been said that "each Toppi panel is a comic within a comic, each page of his work a work within a work capable of achieving a unique emotional power and communicative value."

Homage to Davide Campari, 1987

Oil on canvas. Signed on the right, on the hem of Mars's robe. On the back is a dedication to Davide Campari by the artist, who chose a mythological subject for the "Orpheus" exhibition organized by Campari. The painting comes from the Campari company collection. The mythological subject, itself classicism, depicts Venus and Mars seated in an amorous pose on clouds above the sea, toasting with... a Campari, brought to them by Eros in the famous Crodino bottle. While firmly rooted in the modern world, Antonella Cappuccio's work often tackles subjects from the Italian Renaissance and incorporates the style of the Italian masters. Her work is marked by an intense relationship with the material, especially paper, and by a profound sense of time, memory, and the spirituality of the artistic gesture.

Verso Bormio

Oil on canvas. Signed lower left. On the back is a label indicating that the painting won the Davide Campari Prize in 1980. From the Campari collection. Davide Roncara' paints landscape views in which the geometric shapes of the houses blend chromatically into each other, with overlapping effects that create an almost abstract effect. Framed.

Guitar Player

Mixed media on panel. Signed upper left. Robbiate-born painter Antonio Manzoni distinguished himself with a pictorial production influenced by Expressionism, depicting reality—both landscapes and figures—with an extremely synthetic interpretation, an almost brutal exercise in reduction. This is reinforced by a personal technique that involves a highly textured support on which the artist then redraws the figures, creating an almost two-dimensional effect. Color is also used according to an emotional and spiritual interpretation, without any connection to reality. In this case, the protagonist is a human figure, a guitar player, who emerges from the dark background through lines and convolutions of the brush drawn on the textured surface.