Piero Dorazio

Collezione Privata, Germania
Karl & Faber, Asta maggio 2007
Ivi acquistata dall'attuale proprietario

Museo d'Arte dell'Otto e Novecento, Centro A. Capizzano, Around Rotella. L’artista e il suo tempo, Rende (CS)

This work appears to be in generally good overall condition. The canvas is lightly waved. There are traces of thin craquelures along the upper, left and lower borders. There are the pin-pointed retouching towards the centre of the right margin and three towards the lower right margin, all by the white pigment areas, visible under UV light. This work is painted by the artist also on the reverse.
"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."

Il Verde Veronese e il Celeste Turchino sono fatti l'uno per l'altro e suggeriscono la luce e l'ombra in uno spazio. Non parleremo dei colori più comuni, delle ocre, delle terre né di certi colori vegetali più adatti all'artigianato che alla grande arte. Parliamo dei colori primari, il giallo, il bleu e il rosso, dei secondari che si ottengono mescolando i primari e forse dei terziari, che a loro volta si ottengono allo stesso modo. Sarà bene magari ricordare la differenza fra il Tono e il Timbro di un colore, differenza uguale a quella che si trova nella musica. 

Il Timbro è una caratterista propria della luce primaria, che domina in un colore il massimo della sua intensità. Il Tono è una zona delle scale tonali di un colore. Le scale tonali si fanno aggiungendo più o meno bianco o nero ai colori primari o secondari e ordinandoli in successione verso il bianco o verso il nero. E' possibile fare infinite scale tonali che contengono luce calda o luce fredda. La luce fredda crea più tensione, quella calda è più riposante. Perchè ciò accada, è proprio quello che cercano di capire, una vita dopo l'altra alterandosi, tutti i pittori. 

The Verde Veronese and Celeste Turchino are made for each other and suggest the light and the shadow in a space. We will not talk about the most common colours, ochre, earth or plant colours that are better suited to crafts than to great art. We are talking about the primary colours, the yellow, the bleu and the red, the secondary ones that are obtained by mixing the primary and perhaps the tertiary, which in turn are get the same way. It may be worth remembering the difference between the Tone and the Timbre of a Colour, the difference equivalent to the one that could be found in music.

The Timbre is a characteristic of primary light, which dominates in a colour the maximum of its intensity. The Tone is a sector of the tonal scales of a colour. Tonal scales are made by adding more or less white or black to the primary or secondary colours and sorting them in succession to white or black. It is possible to make infinite tonal scales that contain hot light or cold light. The cold light creates more tension, the warm one is more restful. Why this happen, it is precisely what they are trying to understand, life upon life, all the painters.

Piero Dorazio, in Rigando dritto. Piero Dorazio scritti 1945-2004, Cologno Monzese 2005, p. 338