MI0321

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Lot 8
  • 8

Giorgio Morandi

Estimate
190,000 - 250,000 EUR
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Description

  • Fiori
  • firmato
  • olio su tela
  • cm 30x20
  • Eseguito nel 1952 circa

Provenance

Collezione Carlo Teodori, Milano
Ivi acquisito dall'attuale proprietario

Literature

L. Vitali, Morandi Catalogo generale Volume secondo 1948/1964, Milano 1983, n. 799, illustrato

Condition

This work is in very good condition. There are very minor traces of dirt visible in the catalogue illustration by the lower left corner and along the upper right edge. No traces of retouching appear to be visible under UV light. Colors are much more saturated and warmer than in the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Nel 1952 Giorgio Morandi partecipa con una natura morta di soggetto floreale all’importante mostra La nature morte de l’antiquité à nos jours curata da Charles Sterling che si tiene all’Orangerie a Parigi, ma era già dal 1950 che si interessa vivamente alle possibilità offerte da un gruppo di corolle strette come in un abbraccio, in cima alla forma ora nettamente sagomata, ora morbida e avvolgente del vaso. Sono innumerevoli gli esempi di soggetto analogo in ogni periodo storico e corrente artistica, ma Morandi rompe gli schemi precendenti e le convenzioni pre-esistenti rivendicando una forma di astrazione che non dipende dall'accostamento di geometrie e colori, ma conduce la realtà su un piano rappresentativo di pura forma e puro volume.