Paolo Scheggi

Galerie Smith, Bruxelles
Ivi acquisito dall'attuale proprietario nel 1977

Avezzano, Palazzo Torlonia, XV Premio Avezzano. Strutture di visione, 1964

This work appears to be in generally good overall condition. The white tonality is warmer compared to the catalogue illustration. There is a minor stretcher mark towards the upper right corner. There is a light horizontal indentation mark over the first two vertical ovals. There is a tiny irregularity of the fabric towards the center of the right edge, partially visible in the catalogue illustration. There are minor traces of soiling by the lower edges of the left ovals. 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.
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Lotto in temporanea importazione artistica

The item has been imported under temporary artistic importation licence

Enfant prodige di quella generazione cresciuta accanto alle ricerche spazialiste di Lucio Fontana, Paolo Scheggi ricercò assiduamente l’ambito d’indagine strutturale sullo spazio-luce che aveva caratterizzato l’avanguardia italiana ed europea degli anni ’50 e ’60.

Squisitamente italiano nel dare vita ad un’arte così prepotentemente oggettuale e al contempo lirica, poetica al punto tale da aprirsi alle infinite possibilità dello spazio, Paolo Scheggi è un artista dal profilo internazionale. Ispirato alle ricerche de Stijl così come a quelle Bauhaus, evidenti nella chiarezza compositiva di opere “totali”, è sensibile alla fenomenologia di Sartre: le sue opere, chiuse in un silenzio totemico e razionale che riflette, nelle parole di Fernanda Pivano, l’artista stesso, “ragazzo serio e silenzioso… sorpreso e avido, impressionabile come la cera”, si protendono, seppure internamente, nel vuoto,  coscienza che non è mai in-sé.

Intersuperficie curva, parte della serie più iconica dell’artista, in cui Scheggi applica su un fondo neutro due tele sovrapposte forate, discende direttamente dalla galleria Smith a Bruxelles, alveare dei più influenti artisti d’avanguardia del tempo. Non si può certamente prescindere dal luogo che accolse questo lavoro nel novembre del ’64, né tantomeno dal coraggio e dalla visionarietà di galleristi come Stella Smith che seppero scovare talenti, sondarne la sensibilità, e supportarne il mercato. Cara amica di Peggy Guggenheim, fu anche grazie a lei che Stella cominciò a frequentare l’ambiente artistico italiano e nel 1960 tramite Lucio Fontana conobbe Paolo Scheggi e ne colse immediatamente il grande talento. Nel 1963 Stella Smith espose 4 opere di Scheggi in galleria e dal 4 al 21 novembre 1964 gli dedicò un’esposizione personale in cui vennero esposte 20 opere.

Intersuperficie curva, originariamente parte della scuderia Smith, è riflesso di quel brulicante mondo artistico definitosi lungo un sentiero che da Milano, in questo caso anche Firenze, date le origini dell’artista, giungeva a Bruxelles in un continuo scambio di idee e confronti intellettuali.

Così attuale e al contempo d’avanguardia, sistematico e poetico, lavoro artigianale animato dalle ombre, Intersuperficie bianca ha in sé la preziosità della storia e la delicatezza di un opera immortale.

Enfant prodige of the generation raised up with Lucio Fontana’s Spatialism, Paolo Scheggi worked assiduously within the field of structural-research based on the link between space and light, main theme of the Italian and European avant-garde of the ‘50s and ‘60s.

Exquisitely Italian in giving life to such a objecthood kind of art, but lyrical at the same time, poetical till it opens to the infinite possibilities of space, Paolo Scheggi is an international profile artist. Inspired both by De Stijl and Bauhaus, as it is evident from the compositional clarity of his “total” artworks, he is sensitive to Sartre’s phenomenology: his works, speechless in a both totemic and rational silence which reflects, according to Fernando Pivano, the character of a “serious and quite (artist)… enthusiast and avid, emotional as wax”, protrude inside into space. They gain a kind of consciousness which is never valid by itself.  

Intersuperificie curva, part of the most iconic series of the artist, two perforated layers of canvas on a neutral background, descends from the Bruxelles based Galerie Smith, heart of the most influential artists of that time. We can not overcome the background that welcomed this work in November 1964, not even the bravery and the perspicacity of gallerists such as Stella Smith was, able to discover talents, deepen their sensitiveness, and support their works on the market. Dear friend of Peggy Guggenheim, it was also thanks to her if Stella began to be familiar with the Italian artistic panorama of that time. In 1960, thanks to Lucio Fontana, she met Paolo Scheggi and she immediately understood his huge talent. In 1963 Stella Smith exhibited four works by Scheggi and from the 4^th to the 21^st of November 1964 she held at her own gallery a personal exhibition with 20 artworks.

Intersuperficie curva, originally part of the Smith’s stable, reflects the exciting art world defined at that time between Milan, Florence in this specific case, according to the artist’s origins, and Bruxelles, continuous exchange of ideas and intellectual debates.

So contemporary and avant-garde at the same time, systematic but poetic, a shadows-moved handicraft, Intersuperficie Bianca has in itself the preciousness of the history and the delicacy of an immortal masterpiece.