Carla Accardi

This work appear to be in generally good overall condition. By the center of the left edge there is a rub with paint losses and an adjacent craquelure visible in the catalogue illustration. There are light traces of dirt, especially by the lower left corner and along the lower left edge, and a tiny paint loss over the signature, all visible in the catalogue illustration. There are two light indentation marks towards the lower left corner and by the upper right corner. There are two shallow surface scratches along the lower left margin and towards the central right area. There are few light craquelures where the white pigment is thicker to the center of the right margin. Colours are warmer compared to 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."

L'attestato di libera circolazione è stato richiesto per questo lotto

An export licence has been requested for this lot 

M.C. C'è una intenzione narrativa in questa scomposizione di spazi tempi, cioè tu vuoi raccontare qualcosa con la tua pittura o invece...

C.A. Ora si, perchè adesso voglio raccontare qualcosa. Invece nel momento che ho cominciato era solo una questione di suggestione percettiva. Ma coscientissima. Io pensavo: il bianco e nero e le suddivisioni: non può essere un quadro dell'800, deve essere un quadro del 1959.
Tutte le esperienze che ho fatto per me erano importanti dal punto di vista visivo, perchè il bianco sul nero doveva dare una suggestione di luminosità. Poi Tapié si è occupato di me, e mi ha incominciato a inserire in una situazione informale, per via del segno, eccetera. Ma forzando finchè non mi ha proposto di includermi nella collana del Barocco. E io ho dovuto rifiutare, ma soltanto perchè mi sono sentita distaccata e libera...

Maurizio Calvesi intervista Carla Accardi in "Marcatrè", luglio, agosto, settembre, 1964


M.C.  Does this breakdown of space and time have a narrative purpose, that is, do you wish to recount something with your painting, or...
C.A. Today it does, because now I want to recount something. Whereas when I started it was just a question of perceptive suggestion. But it was extremely conscious. I thought: white and black and subdivisions; it can't be a 19th century painting, it must be a 1959 painting.
All my experiments were important to me from a visual standpoint, because white on black had to create a feeling of brightness. Then Tapiè began to take an interest in me and first placed me in an Informel context, due to my sign and so forth. But forcing the issue, until he suggested including me in the Baroque series. And I had to refuse, but only because I felt detached and free...