Enrico Castellani

Collezione privata, Milano

Renata Wirz con Federico Sardella, Enrico Castellani Catalogo ragionato Opere
1955-2005, Milano 2012, n. 416, p. 431, illustrato

This work is in generally good overall condition. The warm tonality of the shaped area of the artwork is inherent to the artist's choice of media. There is one minor waving towards the lower right corner. No traces of retouching appear to be visible under UV light. A professional condition report is available upon request.
"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."

“...avevo una grande noia delle cose fatte da altri. C'era di moda il Post-Espressionismo, il Post-Realismo, tutti movimenti, dove i pittori rivangavano il fondo della coscienza e spiattellavano sulla tela quello che, loro, ponevano essere il vero inconscio. […] Tutto quello che era la storia della personalità di questa gente, insomma […], pretendevano di spiattellarcelo, col presupposto che la tela fosse la palestra dei loro esercizi psichici di liberazione. Allora, io pensavo che non fosse la palestra adatta, la tela bianca, a queste esercitazioni...se non erano eccezionali.”

Enrico Castellani, dialogo con Carla Lonzi, da Autoritratto, De Donato, 1969

“…I was extremely bored of the things done by others. The fashion was post-expressionism and post-realism, all movements where painters dug in the depth of their conscious and translated on canvas what they thought was to be the real unconsciousness. […] Everything that was the story of the personality of these characters, however […], they expected to chuck it on canvas with the presupposition that it was a training ground for their psychic exercises of liberation. Hence, I thought the white canvas was not the right ground to train on, unless the works were exceptional”