Roberto Marcello Baldessari

Collezione Esterina Marchesini, Padova

This work appears to be in generally good overall condition. The surface of the cardboard is irregular as visible in the catalogue illustratyion. There are traces wearing by the corners. There are traces of minor stable threadlike craquelures along the upper margin. No traces of retouching appear to be visible under UV light. Colours are warmer compared to 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'opera è accompagnata da attestato di libera circolazione

An export licence is available for this lot

 

Siamo qui di fronte alla conferma, per chi non lo avesse ancora capito, che per fare un “grande quadro”, non necessariamente bisogna fare un “quadro grande”. Del resto basterebbe guardare alla produzione di Paul Klee per capire come la prima caratteristica di un’opera d’arte debba essere non tanto la dimensione ma la qualità.
E appunto quanto a qualità quest’opera ne ha da vendere proprio perché si tratta di un dipinto del miglior periodo dell’artista (appunto il 1918) nel quale la perizia pittorica di un futurista che proveniene dalla scuola di Guglielmo Ciardi, è applicata al dinamismo futurista con il risultato di una luminosità del colore quasi “lagunare”. A questo si aggiunga il dato compositivo che va a cercare, anzi ad enfatizzare, la visione prospettica ponendo la signora in primo piano con un’evidente effetto di profondità verso il fondo della composizione. Non ultimo, il punto di vista dell’osservatore (l’artista stesso) che sta appunto “sbirciando” l’interno di questo café-bar, o cabaret, attaverso una delle vetrine sulla via, come ci conferma la scritta sul vetro “Lilly Fenitt”. 

Opera che fa il paio con altra di stesso formato e di simile impostazione (titolata Blu Café, 1918, archiviata in B18-28), e ambedue appunto ambientate in un cabaret. Differisce dall’altra per il primo piano qui occupato da una figura, mentre in quella vi è un vaso di fiori, ed ambedue rientrano nel gruppo di opere che mostrano l’interesse di Baldessari per i café, i bistrot, i cabaret, insomma per quel mondo notturno e, a volte, intimista, dove ci si può appunto divertire ma anche stare da soli al proprio tavolino a sorseggiare dell’assenzio. Opera di grande pittura è certamente tra le più suggestive dell’artista.

We have here the confirmation, for those who had not yet understood, that to make a great picture, it is not necessary to do a big one. It is enough to look at the production of Paul Klee to understand how the first characteristic of an artwork it is not the size but the quality. And this is defenitily an high-quality work made in the artist's best period (the 1918) in which his expertise that comes from Guglielmo Ciardi lesson, is applied to the Futurist dynamism with an almost "lagoon" brightness of colour.  Furthermore the peculiar composition emphasize the perspective of the Lady in the foreground with an evident effect of depth to the bottom of the composition.

Last but not least, the point of view of the observer (the artist himself) who is just "peeking" the Interior of this café-bar, cabaret, through one of the Windows on the street, as it confirms the writing on the glass "Fenitt" Lilly.  This work comes along with another of the same format and similar setting (Blue Cafe standard, 1918, archived under n. B18-28), and both indeed set in a cabaret. It differs from the one for the foreground here occupied by a figure, while in that there is a vase of flowers, and both fall into the group of works that show the interest of Baldessari for the café, bistros and cabaret; for that nocturnal, intimate world, where you can just have fun but also stand alone at a table sipping Absinthe. A masterpiece that is certainly among the most beautiful made by the artist.

Maurizio Scudiero, Rovereto, 15 Settembre 2014