ATANASIO SOLDATI | Composizione

Collezione Pallini, Milano
Galleria Bompiani, Milano
Galleria Lorenzelli, Bergamo-Milano
Ivi acquisito dall'attuale proprietario

Venezia, XXVI Biennale Internazionale d'Arte, 1952
Torino, Galleria Civica d'Arte Moderna, Atanasio Soldati, 1969

This work is in general, overall good condition. The colours are brighter than in the catalogue illustration. The canvas is slightly loose on the stretcher. There are a few pin-pointed traces of dirt on the lower part of the composition. There are paint losses visible in the catalogue illustration along the upper and lower edges. There are minor traces of stable craquelures by the thickest areas of oil of the composition. There are light stretcher marks along the lateral margins. No traces of retouching appear to be visible under UV light.
"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."

"Dopo il 1933, Soldati abbandona completamente la pittura figurativa e passa ad uno stile di sottile geometria pura. Le suggestioni sono diverse, soprattutto Mondrian, ma anche Kandinsky. (...) ...in Soldati sembra esserci stato sempre un desiderio di chiarezza e d'ordine (...), in lui il movimeto si solidifica in uno spazio statico e perciò più sentita appare l'influenza di Mondrian, la cui pittura era pur sempre una conseguenza del cubismo e quindi più vicina alle origini di Soldati. 
Perchè, sia ben chiaro, Soldati non giunge al momento dell'astrazione concreta assoluta per un semplice desiderio di modernizzare la sua visione, per inserirsi a tutti i costi in un clima più 'europeo', ma per un'evoluzione logica delle premesse post-cubiste degli anni precedenti, tanto che ancora in molti dipinti di questo periodo troviamo elementi che esulano da una visione rigidamente neo-plastica, e ricordano piuttosto quesgli arricchimenti cromatici e materiali di cui si serviva Picasso all'epoca del Cubismo sintetico, e la pittura sembra, a volte, persino imitare il collage".
Nello Ponente, Atanasio Soldati, in 'Commentari', anno V, n. 1, pp. 61-62

“After 1933, Soldati completely abandons figurative painting and moves on to a style of subtle pure geometry. The suggestions are different, especially Mondrian, but also Kandinsky. (...) ... in Soldati there seems to have always been a desire for clarity and order (...), in him the movement is solidified in a static space and therefore Mondrian's influence appears more felt, whose painting was nonetheless a consequence of Cubism and therefore closer to Soldati's origins.
Why, to be clear, Soldati does not reach the moment of absolute abstraction by a simple desire to modernize his vision, to fit at all costs in a more 'European' climate, but for a logical evolution of the post-cubist premises of the previous years, so much so that even in many paintings of this period we find elements that go beyond a rigidly neo-plastic vision, and rather recall the chromatic and material enrichments that Picasso used at the time of synthetic Cubism, and painting seems at times even imitating collage”



Opera archiviata presso l'Archivio Atanasio Soldati, Bologna, con il n. AS17376
L'opera è accompagnata da certificato su fotografia rilasciato dall'Archivio Atanasio Soldati, Bologna