Lot 22
  • 22

Giuseppe Santomaso

Estimate
80,000 - 120,000 EUR
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Description

  • Giuseppe Santomaso
  • Composizione
  • firmato
  • olio su tela
  • cm 120,5x150
  • Eseguito nel 1953

Provenance

Galleria Rotta, Genova
Collezione privata, Venezia
Ivi acquisito dall'attuale proprietario

Condition

Colours are slightly brighter compared to the catalogue illustration. The bearing is relined. There are scattered retouching 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."

Catalogue Note

L'attestato di libera circolazione è stato richiesto per questo lotto. Sotheby's non è responsabile per il rilascio del medesimo. Per il ritiro del lotto si prega di riferirsi al dipartimento.

An export licence has been requested for this lot. Sotheby's is not responsible and cannot guarantee that the export licence will be granted. For the release of the lot, please refer to the department.

“A questo punto, (anni 1954-1957), Santomaso non sente più la necessità di allineare o far convivere elementi di diversa consistenza, ma passa a comporre per quegli elementi, sia grafici che coloristici, i quali rappresentano piuttosto che le cose, la linfa interna che le anima.
Una ricerca che Santomaso non cesserà mai di mettere in relazione al mondo delle “cose”, ma che si precisa come un crescente lavoro sui rapporti essenziali tra “l’anima” delle forme e “l’anima” dei colori; la forma coincide con l’espandersi del colore sulla superficie, il colore si arresta per lasciare il posto a un’altra forma, una macchia rinuncia a muoversi per lasciare posto a un’altra forma in una successione che è fatta per accostamenti sul piano e che non mira a caratteri illusionistico-rappresentativi, ma a far recepire le possibilità di un insieme fatto di stasi e di movimento, di emergenze e di scomparse” (Nico Stringa, L’esperienza astratta, in cat. della mostra Giuseppe Santomaso e l’opzione astratta, Fondazione Giorgio Cini, Venezia 2008)

“At this point, (years 1954 – 1957) Santomaso didn’t feel the need to align or combine different kind of elements anymore, but began to realize compositions with graphic and colourful elements that represent the inner lymph of things instead of their appearance. In this search Santomaso will never stop to refer at the world of “things”, but in the meanwhile pay always more attention on the relationship between “the soul” of forms and “the soul” of colours; the colour’s extension on the surface create different forms, it is a sequence made of colours combinations that does not have illusionistic or representative purpose but a set of stasis and movement, appearances and disappearances”  (Nico Stringa, L’esperienza astratta, in exhibition cat.  Giuseppe Santomaso e l’opzione astratta, Fondazione Giorgio Cini, Venice 2008)