Tano Festa

Opera acquistata dall'attuale proprietario direttamente dall'artista nella seconda metà degli anni Sessanta.

Roma, Galleria La Tartaruga, Tano Festa, 1965

Francesco Soligo, Tano Festa Catalogo Generale, Torino 1997, n. 062, p. 61, illustrato

This work appears to be in generally good overall condition. Colours are fairly accurate compared to the catalogue illustration. There are few minor and stable traces of craquelures towards the center of the right margin and of the upper margin and towards the center of the painting. Under UV light is visible a tiny retouching towards the lower left margin. 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."

Giorgio De Marchis: E questi lavori con vedute di cieli, nuvole e pallini?

Tano Festa: Li ho fatti nel 1965. Sono cieli newyorkesi: avevo già fatto alcuni cieli nel 1963 e mi è venuto naturale inserirli in oggetti come finestre e persiane. Poi li ho fatti diventare il soggetto principale. Questi pallini non hanno un significato spiritoso nonostante a New York a quell'epoca tutto fosse così optical che persino il cielo finiva per essere visto come fatto di pallini, strisce e quadrati. Direi che questi elementi sono diventati i rudimenti grammaticali di un gioco, anche se metti un quadrato giallo a fianco a un quadrato blu come in un'opera Costruttivista. Poi ci sono queste suddivisioni che richiamano ai fotogrammi di una pellicola e creano differenti immagini, diverse opere nello stesso quadro, svariate situazioni sullo stesso piano. (...)

Giorgio De Marchis: And these works with views of sky, clouds and balls?

Tano Festa: I did them in 1965. They are New York skies: I had already done some skies in 1963 and it came naturally to me to include them in objects like windows and shutters. Then I made them the main subject. These balls don't have a humorous meaning even though in New York at that time everything was so Optical that even the skies could be seen as balls, stripes and squares. I would say that these elements became grammatical rudiments of a game, even if you put a yellow square next to a blue square as in a Constructivist work. Then there are these compartments, which are film frames creating different pieces, different works in the same work, several contexts on the same level." (...)

Tano Festa, intervistato da Giorgio de Marchis, per il catalogo della mostra "Tano Festa", Galleria La Salita, Roma, aprile 1967