CONTEMPORARY ART
 

Untitled

Oil painting on canvas. Signed lower left. Influenced in his Parisian years by contact with Expressionism, Fantuzzi placed a marked emphasis on the expression of emotions and moods in his works. Color dominates in his canvases in its most marked ranges, usually the cold tones of blue, green and purple, which create sometimes violent contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communication in interpersonal relationships. He often paints poorly defined figures, faces without eyes; in this painting no figures appear but the theme of solitude is mediated by these three boats abandoned aground, under a dark and gloomy city skyline, against the intense, dramatic red of the sky. The work is presented in a frame.

The Old Milan

Oil painting on canvas. Signed lower right. On the back of the frame there is a label with the title. Self-taught Milanese artist, Giovan Francesco Gonzaga declared "my true teacher is Nature", and faithful to her, he dedicated himself mainly to scenes with horses (a passion inherited from his experience in the Savoy Cavalry during the war) to landscapes and still lifes , always depicted ";en plein air". Vittorio Sgarbi wrote about him: "The wisdom of Giovan Francesco Gonzaga lies in the drawing, which is strong and decisive..... The images vibrate with restlessness, in the sign of man's struggle against himself, in the hell of a a story that always seems to repeat the same drama. But if the preparatory drawing is admirable, this artist's color has a royalty and sensitivity that come from a musical perception of color, where the palette is expressed in sudden changes and rhythms buttons". In this work Gonzaga offers a glimpse of his Milan, where a ray of sunlight illuminates the facade of a building making it emerge from the shadows of the narrow street that branches off at the corner. The work is presented in a period frame.

Three figures

Oil painting on canvas. Signed lower left. On the back there is a stamp of the historic Galleria Palmieri in Milan (now no longer existing). The work proposes the typical characters of Franz Borghese';s satirical painting: these are figures that recall, in gestures and clothes, the subjects of 1910, portrayed with almost caricatured, sarcastic features and poses. Borghese's production in fact, after an initial period characterized by a dark and deep, almost dramatic painting, from the 1700s turns into a painting of satire and sarcasm, accentuated by a bright chromatic palette, which aims in particular at the bourgeoisie of the turn of the century. The three figures in this work, two men and a lady, are depicted sideways as they walk in single file in their elegant street clothes: the serious expressions, the distant gazes, seem to underline mutual indifference, as well as the boredom and vacuity of their life, which contrast with the bright and lively colours. The work is presented in a frame.

Mémoire écologique 1974

Acrylic on canvas. On the back present the signature, the title and the date of the work. Painter of Neapolitan origin but lived in Paris, Guido Biasi elaborated a particular figurative painting, in which he recovered images of memory or of the past to propose a revisited and ironic reflection of it. From the period 1973-75 is the series of Mémoires écologiques, based on the duplicity between psychic, i.e. subjective, memory and historical memory. The work is presented in a frame.

Nude with barrier 1970

Oil painting on canvas. On the back present signature, title and date. Also present are the stamps of the Bellini studio, interior designer. Caminati was a Genoese artist who loved to experiment, passing from social realism of denunciation (he was a partisan of the Second World War), to a painting close to pop-art, to then return to hyper-realism. He also experimented with different techniques and materials, and was an excellent ceramist. This work belongs to his pop period of the 1970s, a period in which the artist also revisited some masterpieces of art history: a naked female body lying on a sheet, probably part of a famous work of art , is semi-hidden under a red barrier, which deprives the figure of any identity. The work has a scratch and a slight tear in the centre, in need of restoration.

'Si fanno in 4 per Paolo' 2010

Thin aluminum laminate sprayed with acrylic colors. On the back there is the self-certification form of the work, with the signature and all the data (title, size, technique, date and dedication). The title is also expressed on the reverse, by punching in the center. "Eugenio Sgaravatti was born in Rome. He attended schools in Italy, Switzerland, Holland and England. The passion for traveling led him to a hundred different countries, deepening his humanistic knowledge. The large amount of messages received in his travels stimulate his vocation and push the artist to devote himself exclusively to painting. He works in his studio in the capital at Villa Iris in Via Appia Antica 107. He paints abstract compositions and landscapes with some figurative jolts. His works contain elements of repetitiveness, which reflect the obsessive and serial character of contemporary life. He paints in oils but also experiments with acrylic paints, polyurethane resins and powder pigments. Given his versatility, the supports vary: canvas, cardboard, wood and metal laminates. " (biography taken from the artist's website). Work presented in frame.

Stratosphere 1962

Oil on canvas. On the back there is the title, date and signature of the artist. Present cartouche from the Falchi Gallery in Milan. Felice Canonico was born in Messina, where he made his debut as a self-taught person, making himself noticed within the circuit of city exhibitions; then follows a period of training in Florence with Ardengo Soffici and Pietro Annigoni. From '51 to '60, he collaborated with the major construction sites in Messina. Moving to Milan, he attended the Blu gallery, coming into contact with the most innovative artists of the time: Fontana, Burri, Vedova, Borlotti, Santomaso. He exhibits in Rome, Venice, Paris, London, Stuttgart, Copenhagen, Los Angeles, also winning several prizes. In his long and versatile activity he experiments with the most diverse and alternative artistic techniques. The work is presented in a frame.

Clerics with Fishes

Oil on the table. Signed lower right. It is the work of the Rapallo artist Pietro Ardito, who established himself as a cartoonist and caricaturist, painter and designer. Also in his pictorial works the matrix is ​​the caricature one: prelates and clerics often find themselves as subjects, as in this scene in which Ardito proposes a nice procession of clerics following a bishop....returning from a day of fishing, with fish trophies clearly visible. In frame.

House of Mary in Guerri 1957

Oil on hardboard. Signed and dated lower right. On the back the title. Caminati was a Genoese artist who loved to experiment, passing from social realism of denunciation (he was a partisan of the Second World War), to a painting close to pop-art, to then return to hyper-realism. This work belongs to the period of social realism, which lasted throughout the fifties, in which Caminati portrayed places and characters of everyday life, such as this landscape view of the Casa Guerri hamlet in the municipality of Pievepelago, in the province of Modena, where the protagonist is a specific house, belonging to a woman called Mary, evidently known to the painter. The work is presented in a frame

We created Atypical Systems 1963/74

Serigraphs and photos. The work consists of three silk-screened cartoons (in cardboard box) with the text in English (original title "We have created atypical systems") and six photos portraying the artist, individually framed. On the back of the three serigraphs in English, numbered in sequence, there are the edition number 13/15, the date 1974 and the artist's signature; they also accompany three unsigned serigraphs with the text in Italian. Cioni Carpi, Milanese artist, engaged in conceptual and minimalist art, produced works in which imagination, sensitivity, expressive flair were fundamental. His creativity was also expressed in photography, installations, video, drawing, writing, the artist's book, as well as painting. The dimensions indicated are those of the single frame.

Study for Sculpture 1969

Ink on paper. Signed and dated lower right. Accompanied by authentication on photo for the Marconi Gallery in Milan, and stamp of the JAPF Archive. with N. 114. From the outset, Gianfranco Pardi's artistic research has been based on space and constructive planning that gives life to works of great formal rigor, characterized by the integration of drawing, painting and sculpture in a spatial dimension of breath architectural. Starting from rigorous planning, the artist reveals the dynamics and relationships of form and matter: imaginary architectural interiors, rigidly geometric or biomorphic sculptures, marriages of architectural constructions and natural environments. The study is presented in a frame.

Project for Corner Wall 1982

Mixed technique on tablets. Three-dimensionally mounted in a plexiglass container. On the back there are the signature, the date and the title of the work. From the outset, Gianfranco Pardi's artistic research has been based on space and constructive planning which gives life to works of great formal rigour, characterized by the integration of drawing, painting and sculpture in a spatial dimension of architectural breadth. Starting from rigorous planning, the artist reveals the dynamics and relationships of form and matter: imaginary architectural interiors, rigidly geometric or biomorphic sculptures, marriages of architectural constructions and natural environments.

Tempera, pencil and charcoal on paper. Signed on the back. The drawing is registered in the Archive Fausto Melotti with code DIS 84020. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his artistic vision. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

Pencil on paper. Signed on the back. The drawing is registered in the Fausto Melotti Archive with code DIS 72010, showing the data of the work. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his artistic vision. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

Pencil on paper. Signed on the back. The drawing is registered in the Fausto Melotti Archive, with code DIS 72006. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his vision artistic. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

Pencil on paper. Signed on the back. The drawing is registered in the Fausto Melotti Archive, with code DIS 72016. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his vision artistic. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

Pencil on paper. Signed on the back. The drawing is registered in the Fausto Melotti Archive, with code DIS 79005. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his vision artistic. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

Pencil on paper. Signed on the back. The drawing is registered in the Fausto Melotti Archive, with code DIS 80037. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his vision artistic. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

The Seeding 1979

Oil on glass. Signed and dated lower right, with the symbol of the artist, the stylized figure of a man in a wheelchair. On the back label with further signature and data of the work. The naive style painting proposes a moment of peasant life, or rather the sowing of the small field; the farmer works in the small plot of land, almost a vegetable garden, with the hens pecking around him, and green hills all around, illuminated by a huge, sparkling sun. It is a work on glass by the painter Mario Previ, who has been living and painting in a wheelchair since the age of eighteen, due to a tetraplegia resulting from a dip in his Taro. He said of himself : "The world, the passage of time, from this point of view (the wheelchair) teach many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and depend on others and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They saved me, giving me the strength to live" . In 1974, three years after the accident, inspired by a television broadcast on Yugoslav naive painters, in particular by the works on glass of Mijo Kovacic, Previ began to paint and to learn the art of self-taught painting on glass, up to to be known and appreciated for his paintings. In his naif Mario Previ tells a reality that has almost disappeared, real stories even if in a fairytale tone, he revives lost traditions, slices of life that belonged to other generations, those of peasant civilization (from which, however, he comes), but what most emerges from his visions are the "forë", those that could once be heard in the "firossi" the traditional evenings of the hamlets of Parma dedicated to getting together to tell anecdotes, stories and historical curiosities, often in front of the fire in the fireplace, when outside it was cold and snowing. The work is presented in a frame.