Lot 8
  • 8

PIERO DORAZIO | Collier

Estimate
100,000 - 150,000 EUR
bidding is closed

Description

  • Piero Dorazio
  • Collier
  • firmato, intitolato e datato 1963 sul retro
  • olio su tela
  • cm 81x100

Provenance

Tornabuoni Arte, Firenze, Londra, Parigi
Ivi acquistato negli anni Novanta

Exhibited

Roma, Galleria Marlborough, 1964, illustrato
Marlborough-Gerson Gallery, New York, 1965, illustrato

Literature

E. B. Henning, On Piero Dorazio in "Art International", Lugano nn. 9-10 dicembre 1965, p. 16, illustrato
Maurizio Fagiolo Dell'Arco, Piero Dorazio, 1966, p. 45, p. 47, illustrato
Dorazio-Mendes, Piero Dorazio contesta cinco preguntasde Murilo Mendes, in "Amaru", Lima n. 7, giugno/settembre 1968, p. 55, illustrato
Dienst, 1970;
Marisa Volpi Orlandini, 1970
Giuseppe Ungaretti, Piero Dorazio, St. Gallen 1976, ripr. 21, p. 63
Marisa Volpi Orlandini, Dorazio, Venezia 1977, n. 669, illustrato

Condition

This work appears in generally good overall condition. There is a restore towards the center of the left margin, visible also under UV light. By the upper right corner there is a trace of wearing with a tiny hole.
"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."

Catalogue Note

“La mia mostra alla Biennale del 1960 aveva spiazzato tutti con una serie di superfici monocrome, bianco, nero, rosso, verde, blu, di grandi dimensioni, appese quasi in continuazione una accanto all’altra. Conservo una foto insieme a Lionello Venturi il quale si congratula calorosamente con me e io tenevo molto al suo giudizio. La mostra fu accolta con interesse da pochi, la maggior parte dei visitatori la ritenne una raccolta di tessuti, coperte e tappeti […]. Quella mia pittura eseguita in modo classico, senza materia, dove la luce era generata proprio dalla qualità dei colori ad olio, diafani o corposi, in grado di produrre sensazioni virtuali di spazio e movimento, era come il diavolo per quegli imitatori di Burri e di Schwitters. Era di moda usare direttamente dei materiali scelti a caso invece della materia pittorica”. Piero Dorazio in Piero Dorazio, Gli Anni Sessanta, catalogo della mostra al PAC, Milano 1998. "My exhibition at the 1960 Bienniale di Venezia presented a series of monochrome surfaces, white, black, red, green, blue, large, hanging one after the other continuously. I keep a picture from that period in which Lionello Venturi is warmly congratulating me. I cared greatly about his opinion. The exhibition was considered of interest by only a few visitors, most considered it a collection of fabrics, blankets and rugs [...]. My painting, executed classically, without subject matter, where light was generated by the quality of oil colors, diaphanous or full-bodied, able to produce virtual sensations of space and movement, was like the devil for those imitators of Burri and Schwitters. It was fashionable to use materials chosen at random instead of pictorial matter".



L'opera è accompagnata da certificato su fotografia firmato dall'artista