Ettore Spalletti

Galleria Vistamare, Pescara
Ivi acquistato dall'attuale proprietario

This work is in very good condition. The tonality of the work is slightly clearer compared to the catalogue illustration. No traces of retouching appear to be visible under UV light.
"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."

"La luce è molto importante. Come nasce un colore…un mio quadro ha una elaborazione quasi di 20 giorni. Ogni giorno trovo un colore...lavoro una pasta di colori, che è abbastanza spessa, al cui interno sono pigmenti e gesso. Fondamentalmente il colore è costruito sulla realtà del bianco. È sul bianco che aggiungo pigmenti, che aggiungo polveri per stemperare il colore. Adesso è una cosa abbastanza divertente da fare. Prima sbagliavo sempre. […]
Non conoscevo quella che sarebbe diventata la mia formula del colore. Era una cosa che inventavo io, che sentivo, la sperimentavo… […]
È questa la mia mania. […] È il piacere di giocare con le polveri di colori, trovare in che maniera e dove il colore può fermarsi."

Ettore Spalletti (Paolo Vagheggi, Contemporanei, Conversazioni d’artista,  2006)

"Light is very important. Like a colour is born… a painting of mine has an elaboration of nearly 20 days. Every day I find a colour… I work a paste of colours, that is quite thick, that contains pigments and chalk. Fundamentally colour is constructed on the reality of white. It is on white that I add the pigments, and I add powders to dissolve the colour. Now it is quite fun to do. Before I would always mess it up. […]
I did not know what was going to be my colour formula. It was something that I used to invent, that I felt, that I experimented… […]
This is my obsession. […] It is the pleasure to play with the colour powders, to find in what way and where can colour stop."