Agostino Bonalumi

Acquistato dall'attuale proprietario nel 2007

This work is in very good condition. 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."

“[…] tanto le tele acrome - bianche o nere – quanto quelle di vivace valenza timbrica - rosse, blu, gialle - si sono sempre valse del colore alla stessa stregua della componente tissulare di cui le tele o le costruzioni plastiche erano costituite. E questo spiega come sia stato possibile all’artista passare dalla monodimensionalità dei primi lavori a una cauta volumetricità delle tele estrolfesse, fino alla totale tridimensionalità dei primi lavori a una cauta volumetricità delle tele estroflesse, fino alla totale tridimensionalità di quelle che possiamo definire anche ‘sculture’, ma che, in realtà, sono solo la trasposizione, dalla seconda alla terza dimensione, d’uno stesso schema plastico-cromatico”. ( Gillo Dorfles, Bonalumi. La continuità del processo creativo, in Agostino Bonalumi, Edizioni Galleria Fumagalli, Bergamo 2003)

“both his colourless – black or white – canvases and the ones with lively values of timbre – in red, blue or yellow – have always used colour on a par with the fabric component used to constitute the canvases or the plastic constructions. And this explains how the artist has been able to pass from the single dimension of his first works to a cautious volume in his extroflexed canvases and then on to the complete 3D of the ones that we could also call ‘sculptures’ but which, in reality, are only the transcription of the same plastic and chromatic schema from the second to the third dimension”