Emilio Pettoruti (1892-1971)

Alberto Sartoris, Lutry

Paris, Galerie Hautefeuille, 1958
Florence, Galleria Vigna Nuova, 1959, n. 21
Paris, Gelerie Charpentier, Pettoruti, 50 ans de Peinture, 1964, n. 2
Basel, Kunsthalle, 1969, n. 3
Geneva, Musée Rath, 1969, n.3

Angel Osvaldo Nessi, Emilio Pettoruti. un clásico en la vanguardia, Buenos Aires, 1987, n. 10, p. 114, illustrated
Fundación Pettoruti, Emilio Pettoruti, Buenos Aires, 1995, n. 21, illustrated

The paper is laid down to the board on the reverse. There is a ¾ inch long scratch, 2½ inches from the center of the lower margin. There is possible smudging on the lower right margin and flattened creases extending vertically in the center of the piece. Overall, the work is in excellent condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

 Emilio Pettoruti left Buenos Aires in 1913 and sailed for Europe arriving several months later in Genoa and eventually making his way to Florence. Once there, he joined the ranks of artists from around the world who were flocking to Italy to study the masters of the Renaissance and the legacy of the Roman Empire.
Interestingly, it was not the lure of the old that interested Pettorutti but rather the challenge of the new. He devoured the magazine Lacerba, which published the Futurist Manifesto by Filippo Tommaso Marinetti and other theorists. Soon after he saw the Espozisione Futurista Lacerba at the Libreria Gonnelli in Florence which included works by Gino Severini and Umberto Boccioni.
Pettoruti immersed himself in this new world and produced a series of visceral Futurist works, mostly on paper, including Armonia-Movimento Spazio-Disegno Astratto which conveys the energy he felt upon encountering this new language, so different from the Impressionist-inspired works he produced in Buenos Aires.