L'opera è accompagnata da certificato su fotografia rilasciato dall'Archivio della Fondazione Enrico Castellani, Milano
“All this process of pictorial conscience, without subject, is nevertheless based on an entity: the light. This illuminates the reliefs, it creates shadows and reflections, it flattens and exalts the surfaces, it thus gives existence to the painting. Consequently, a gradual approach by Castellani to its splendour could not be missing, through the absolute colour, the white that irradiates, slithers and unites the surfaces and at the same time acts as a register of full freedom. It dilates and provokes in the irradiated elements a modulation of light that brings with it a pleasure much of the variability of the shadow, as of the pure lightness. But white isn’t only absolute light for Castellani; it concretizes ‘a white, blank surface, it is what is more abstract can be found’ (Castellani, 1982). In addition, white is the identity of the canvas at the primary state, prototype of the nothing and the void: ‘the surface becomes increasingly white, thus the limit would have been the untouched surface’. White is a non-colour, it doesn’t obfuscate or filtrate the light, such as the reds and blues, but exalts it, so it will inevitably emerge as a winning chromaticism”.
(Germano Celant, Dietro il quadro: Enrico Castellani, in Enrico Castellani, Milano 2001, pp. 16-17)
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