- 23
Giuseppe Capogrossi
Description
- Giuseppe Capogrossi
- Superficie 448
- firmato, intitolato e datato 1962 sul retro
- olio su tela
- cm 210x180
- Eseguito nel 1962
Provenance
Collezione Modugno, Roma
Ivi acquisito dall'attuale proprietario negli anni Settanta
Exhibited
Literature
Condition
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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
Each artist has a unique language, an expressive form that permits him to communicate figuratively what can’t be explained with words. However only great artists succeed in creating an autonomous code that has the capacity in becoming a unicum, a unique experience.
The ultimate and only judge for this distinction can only be History. Precisely History, through the numerous exhibitions and the vast literature dedicated to the artist, has sanctioned that Giuseppe Capogrossi belongs to the second category: the unrepeatable artists.
Success that has been reached by this artist thanks to his distinctive modus operandi, which culminated in the birth of a segno (motif), his own language, which the artist has proposed again and again throughout his career.
An abstract signature motif (which for some has a prehistoric connotation) actually has a precise origin in the artist’s contemporary history: the Second World War since the turning point between the figurative to the abstraction started immediately after the war in 1946-1947. It is indisputable Capogrossi’s lesson in this transition: the human being, whom after the war has destroyed his own humankind, ends in vanishing also from the Roman’s artist canvases.
After the war effectively many bodies remained empty as corpses deprived of humanity. Along these lines Capogrossi’s oeuvre striped down from figurative and became a simple motif for itself, never a symbol, just a representation.
In the present work of majestic dimensions, the artist’s signature motif has freed itself achieving a conceptual abstractism, however it is still able to maintain the spectator anchored to the human being experience.
Therefore Superficie 448 gives voice to Giuseppe Capogrossi’s new language: the canvas is inscribed by simple and repetitive motifs and it is inside of this simplicity that is possible to witness the cruel humankind’s history of the 900, with spontaneity and prominence that only the greatest artists can transmit.