Mario Schifano

Collezione Turchiaro, Roma
Ivi acquistato dall'attuale proprietario

Roma, Galleria Il Gabbiano Mario Schifano, 2008, p. 15, illustrato
Roma, Palazzo Barberini, Cose mai viste II- opere di altri artisti, 2009
Todi, Bibo's Place, 8x8,64 when forms become idea - 7 artisti per Mario Schifano 'Il Puma', 2013-2014

This work is in generally good overall condition. There are some light and original weaving towards the center of the upper and lower margins. There are fade rubbing marks along the upper right edge and towards the central lower edge between the 2 elements. There are traces of soiling along the right edge and a tiny indentation mark towards its center. 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."

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 “Pensavo che dipingere significasse partire da qualcosa di assolutamente primario… Dipingevo quadri così: col blu, col rosso, col giallo. Dicevo questi sono ‘segni d’energia’ o ‘segni di propaganda’ […]. I primi quadri soltanto gialli con dentro niente, immagini vuote, non volevano dir nulla. Andavano di là, o di qua, di qualsiasi intenzione culturale. Volevano essere loro stessi… Fare un quadro giallo era fare un quadro giallo e basta”
(“Lui ama Nancy la fotografa”, intervista a cura di E. Siciliano, in Il Mondo, 16 novembre 1972)

"I thought that painting meant one should get started from something absolutely  primary…I executed my canvases and papers  in blue, red, yellow paint. I named them ‘signs of energy’ or ‘propaganda signs’ (….). The first paintings were simply all yellow and had nothing inside them, they were void images, they meant absolutely nothing. They would go beyond any cultural intention. They wanted to be merely themselves. …Painting a yellow painting meant executing a yellow painting and nothing else (“He loves Nancy the photographer”, interview by E.Siciliano, Il Mondo, 16 November 1972)