Francesco Clemente

Acquired directly from the artist by the present owner

New York, Solomon R. Guggenheim Museum; Bilbao, Guggenheim Museum, Clemente, 1999-2000, no. 70, illustrated in colour

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly brighter and warmer in the original. Condition: This work is in very good condition. The sheet is hinged to the backing mount at intervals on the reverse and all four edges are deckled. The sheet is very slightly undulated.
"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."

An Interview with Francesco Clemente

Sotheby's:
Your recurring theme of self-portraiture is tied to the repetition and rebirth of the ego, from where does this need originate for you and how does this effect you in reality?

Francesco Clemente:
I believe that paintings are tools for knowledge, concise keys to access a view of the world. A self portrait is a reminder that at the core of our experience of the self is the perception of change, and that the only certainty is the continuity of discontinuity

Sotheby's:
How do your experiences and creative/dreamy dimension interface and are reflected in your work?

Francesco Clemente:
The distinctive strategy of my work is the constant renewal of materials and formats. Every new material generates a new constellation of images. These images are organized in an open, fragmented narrative. They are used as relative tools, meant to suggest the existence of absolute realities, without dictating them.

Sotheby's:
How has your relationship with the body and its identity evolved over the years?

Francesco Clemente:
We barely understand the body, as we barely understand painting. Our goal is to accept that, what looks like chaos in painting, and in the body, is nothing less than a superior form of order

Sotheby's:
Could you tell us more about your inspiration for the Book of the Sea series?

Francesco Clemente:
As I constantly renew my materials, I also renew the geographical origins of my work. Very large watercolours are more easily made in a tropical climate, where the humidity allows more time to rework the surface. The works of the Book of the Sea are made in the Caribbean, mostly in Port Antonio, and are inspired by the great literature of this area, particularly the poetry of Derek Walcott.