Mario Schifano

Acquistato dall'attuale proprietario nella prima metà degli anni Ottanta

Verona, Studio La Città, Mario Schifano. Vero amore, 1990, p. 17, illustrato

This work is in very good condition. There are two minor traces of soiling towards the center of the lower margin. There are traces of stable craquelures by the thickest areas of violet pigment. Colors are warmer compared to the catalogue illustration.
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Tra i primi anni Sessanta e la seconda metà degli anni Settanta, Schifano arriva alla maturazione dell’idea di soggetto di un tema che viene ripetuto con un’ossessiva assiduità. La sua è una sorta di ricerca del limite assoluto di interpretazione del soggetto e i soggetti in questione sono querce che si stagliano sulle tele, grandi, solitarie e sospese, le fronde frequentemente animate da tagli o finestre e i colori che campeggiano sempre puri, brillanti e incisivi. Sono i "Vero Amore" oppure "Albero", collegati dall'ispirazione di fondo presa da Schifano dall'opera di Piero della Francesca "Battesimo". Nell’opera il tronco è un personaggio della composizione, in prospettiva e impiantato al centro dello sguardo. L'albero senza terreno sotto è stato interpretato sia come simbolo di insicurezza, sia della personalità isolata dell'autore, visto come mediatore tra cielo e terra, tra umano e divino.

From the beginning of the Sixties until the mid Seventies, Schifano fully develops the idea of a theme subject that he repeats over and over again in an obsessive way. He makes a research on the subject’s ultimate interpretation by using oak trees as his main subjects. The oak trees  depicted on these big canvases,  are big solitary and suspended, their branches are frequently animated by cut outs and windows while the colours shine in all their pureness and incisiveness. These paintings are called "Vero Amore" or "Albero” and they are linked by the inspiration from "Battesimo" by Piero della Francesca. In the composition the trunk is like a character, in perspective and implanted in the center of gaze. The tree without soil under has been interpreted both as a symbol of insecurity, and of the isolated personality of the author, who is seen as a mediator between heaven and earth, between human and divine.