Giacomo Balla

Galleria Blu, Milan

Galleria d'Arte del Naviglio, Milan

Massimo Carpi, Rome

Galleria Editalia, Rome

Galleria Arco D'Alibert, Rome

Galleria Marescalchi, Bologna

Private Collection (acquired from the above)

Thence by descent to the present owners

Milan, Amici della Francia, Giacomo Balla, 1951, no. 20

Milan, Galleria Blu, Futur Balla, 1959-60, no. 1

Turin, Galleria Civica d'Arte Moderna, Giacomo Balla, 1963, no. 188, illustrated p. 74

Vancouver, Vancouver Art Gallery, Futur-Balla, 1986, no. 28, illustrated in colour p. 89

Kassel, Museum Fridericianum & Valencia, Instituto Valencia d'Arte Modern, Vanguardia italiana de entreguerras, 1990

Japan, Sezon Museum of Art, Futurism 1909-1944, 1992, no. II-30, illustrated p.160

Paris, Artcurial, Giacomo Balla - un art de vivre, 1995

Maria Drudi Gambillo & Teresa Fiori, Archivi del futurismo, vol. II, Rome, 1962, no. 374

Giacomo Lista, Balla, Modena, 1982, no. 783, illustrated p. 363

The canvas is not lined. UV examination reveals a spot of retouching of about 4 cm. to the lower grey pigment in the lower right relating to a repaired tear. Some very minor and stable paint shrinkage to the grey and white elements towards the upper right and a fine vertical line of retouching to the red in the upper right corner. Some extremely tiny spots of paint loss to the bright red and grey elements to the lower left quadrant. Some fine lines of rubbing towards the lower left quadrant. Some minor frame rubbing to all four edges due to previous framing. This work is in overall good condition.
"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."

Composed of a complex medley of vibrantly coloured forms, Idealfiamma is a significant example of Giacomo Balla’s 1920s œuvre. The twenties mark Balla’s interest in rich, decorative schemes for interior decorations, furniture, and clothing as a way to integrate his artistic credo and the idea of abstract chromatic decorativism into daily life. The importance of the present work is attested to by its extensive and venerable exhibition history and its title – translating poetically as ‘ideal flame’ – which imbues the painting with an additional layer of meaning referencing the flame of creation and creativity through bold twists of red pigment which curve and intertwine towards the left of the work. The shape formed is akin to that of a Phoenix, the mythical creature which represents the concept of re-birth and renewal, whilst the introduction of a fiery element imbues the overall composition with an extraordinary sense of energy and dynamism. It is this very dynamism that Balla seeks to convey in formalist terms, to capture an impalpable element and render it eternal.

Idealfiamma was painted during a period in which Balla was investigating the pictorial limits of abstraction as a concept, moving towards an art which increasingly focused on pure colours and geometric shapes. Whilst the artist had originally embraced the powerful virility of the Futurist movement in works which celebrated the potential and speed of modern technology, by the 1920s he had become intrigued by the creative possibilities of non-material form. Idealfiamma also reveals Balla’s increasingly bold utilisation of colour during this time, with the cool tones of the black and grey segments contrasting with vivid effect against the bright red and delicate pinks.  The artist articulated the importance of colour within his work of this time, noting that: ‘Modern man is inclined towards colour. The more or less Parisian fashions demonstrate it. Let us look at the hats, the umbrellas, our wives' clothes and the handkerchief and the tie we are wearing. And what has futurist painting been from its beginning up until today if not a research of abstract chromatic decorativism?’ (Giacomo Balla, quoted in Giovanni Lista, Balla, Modena, 1982, p. 89). In its thrilling juxtaposition of form and colour, Idealfiamma stands as a testament to Balla’s astonishing and ground-breaking creative prowess.