- 15
Piero Dorazio
Estimate
120,000 - 180,000 EUR
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Description
- Piero Dorazio
- Eastern Spleen
- firmato e datato 1958; firmato, intitolato e datato 1959 sul retro
- olio su tela
- cm 73x93
Provenance
Galerie Springer, Berlino
Collezione privata, Germania
Ivi acquisito dall'attuale proprietario
Collezione privata, Germania
Ivi acquisito dall'attuale proprietario
Exhibited
Venezia, XXIX Biennale Internazionale d'Arte, 1958, n. 431
Londra, New Vision Center Gallery, Painters of Rome. Accardi, Conte, Dorazio, Sanfilippo, Turcato, 1959
Alexandrie, MBA, 1960
Dusseldorf, Kunstverein fur die Rheinland und Westfalen, Piero Dorazio, 1961, n. 54, illustrato
Londra, New Vision Center Gallery, Painters of Rome. Accardi, Conte, Dorazio, Sanfilippo, Turcato, 1959
Alexandrie, MBA, 1960
Dusseldorf, Kunstverein fur die Rheinland und Westfalen, Piero Dorazio, 1961, n. 54, illustrato
Literature
Marisa Volpi Orlandini, Dorazio, Venezia 1977, n. 375, illustrato
Condition
This work is in very good condition. 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."
"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
“Le sue ‘tessiture’ […] sono a un tempo ricettacoli spaziali e radar luminosi e riescono, nella loro continuità tissurale, a proporre il senso dell’infinito e quello del conchiuso: l’infinito di una trama che si ripete eguale a se stessa […] e il concluso d’un margine netto che isola la superficie dipinta e la rende fine a se stessa. Sono, dunque, opere di autentica pittura, dove la ‘pulizia’ dell’esecuzione non pregiudica mai l’unicità della resa; dove l’irreperibilità dell’elemento ‘poetico’ si sposa con il rigore del raggiunto risultato pittorico” Gillo Dorfles, Oltre il colore, catalogo della Galleria Il Quadrante, Firenze 1962
“His ‘textures’ […] are asimultaneously spatial receptacles and luminous radars, and succeed, in their textural continuity, in projecting a sense of the infinite and of the finite: the infinite in the pattern that repeats itself ad infinitum […] and the finite in the divisive border that isolates the painted surface and renders it an end in itself. They are therefore works of authentic painting where the ‘polish’ of the execution never impairs the uniqueness of the rendering, where the elusiveness of the ‘poetic’ element is combined with the rigour of the obtained pictorial result.”
“His ‘textures’ […] are asimultaneously spatial receptacles and luminous radars, and succeed, in their textural continuity, in projecting a sense of the infinite and of the finite: the infinite in the pattern that repeats itself ad infinitum […] and the finite in the divisive border that isolates the painted surface and renders it an end in itself. They are therefore works of authentic painting where the ‘polish’ of the execution never impairs the uniqueness of the rendering, where the elusiveness of the ‘poetic’ element is combined with the rigour of the obtained pictorial result.”