Paolo Scheggi

Studio Brescia Arte Contemporanea, Brescia
Galleria Borromini Arte Contemporanea, Ozzano Monferrato (Alessandria)
Collezione VAF Stiftung - MART, Museo d'Arte Moderna e Contemporanea di Trento e Rovereto

Londra, Robilant+Voena, Paolo Scheggi The humanistic measurments of space, 2014, illustrato, p. 141 e 184, fig. 133, illustrato a colori (ruotata di 90° a sinistra)

Luca Massimo Barbero, Gillo Dorfles, La breve e intensa stagione di Paolo Scheggi, Verona 2002, p. 195, illustrato a colori (ruotato di 90° a destra)
Christa Steinle e Gudrun Danzer, Viaggio in Italia. Arte italiana dalla collezione della Neue Galerie Graz, Graz 2008-2009, p. 50, illustrato a colori
Francesca Pola, Italian Neo-Renaissance. Bonalumi Scheggi, New York 2015, p. 23, p. 61, illustrato a colori
Luca Massimo Barbero, Paolo Scheggi. Catalogue raisonné, Milano 2016, p. 275, n. 67 T 2, illustrato (ruotato di 90° a destra)

This work appears to in generally good overall condition. The colour of the catalogue illustration is fairly accurate. There are light stretcher marks along the edges, visible in the catalogue illustration. Under UV light are visible two tiny retouching towards the upper left corner, two towards the lower left corner and pin-pointed old traces of scattered mould, already inactive. Only under raking light is visible a shallow scratch by the centre of the upper edge.
"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."

..."A prescindere da ogni raggruppamento arbitrario o dovuto a ragioni di politica mercantile, i giovani Bonalumi, Castellani, Scheggi, (e l'inclusione tra di loro di Lucio Fontana vuol essere soprattutto un omaggio a chi ha saputo con tanto anticipo su tutti in Italia scoprire alcune fondamentali costanti dell'arte moderna) mi sembrano di notevole interesse perchè si collocano su quello spartiacque che divide il versante delle correnti che fanno ricorso a media tradizionali (...) e il versante di quelle correnti cui dinnanzi alludevo: ossia i programmatori ad oltranza, i "disegnatori industriali dell'inutile", gli ottici, i cinetici... I nostri invece, conservano tutti un acuto rispetto per la personalizzazione esecutiva, ma prediligono l'indirizzo che potremmo definire della "pittura oggettuale": del "quadro-oggetto", del dipinto che costituisce un elemento plastico-cromatico scaturito dall'incontro di forme e colori, suscitato sempre, tuttavia, da un'attenta e preodinata progettazione strutturale."

..."Disregarding any arbitrary grouping or any driven by market policies, young artists Bonalumi, Castellani, Scheggi, (including Lucio Fontana among them is intended as a tribute to the man who discovered several constant fundamentals of modern art long before anyone else in Italy) seem noteworthy to me, for they are situated in that watershed dividing two sides of the current: those who use traditional media (...) and those to whom I alluded earlier: namely, those who are Arte Programmata artists [group of Italian artist in the 1960s focusing on optical art and kinetic art N.d.T] to the bitter end, the "industrial designers of the useless," optical artists, Kinetic artist...
Our artists, instead, all maintain a deep respect for executive personalization, but prefer the direction which could be defined as "object painting". The "painting object" is a painting that constitutes an integral element of the living space. It can serve as a modulator of a dimentional situation or even simply as an exquisite plastic-chromatic element born out of the meeting of shapes and colors, always elicited, however, from a careful and predefined structural plan."

Gillo Dorfles, per la mostra "Pittura oggetto a Milano", Roma, Galleria Arco d'Alibert, 1966