Giuseppe Santomaso

Marina Santomaso, Venice

Barcelona, Fondazione Joan Mirò, Santomaso, 1979, p. 74, pl. 33
Munich, Staatsgalerie moderner Kunst, Santomaso, 1979-80, p. 56, no. 31, pl. 27
Venice, Museo Correr, Santomaso: Opere 1939-1982, p. 45, pl. 30
New York, Grace Borgenicht Gallery, Santomaso, Recent paintings, 1983, no. 3, illustrated
Milano, Palazzo Reale, Santomaso: Opere 1939-1986, 1986, p. 58, pl. 41
Ludwigshafen, Wilhelm Hack Museum, Santomaso: Opere 1939-1986, 1986, p. 70, pl. 41
Taormina, Chiesa del Carmine, Giuseppe Santomaso. Oltre il concetto: opere anni '70 e '80, 1988
Locarno, Pinacoteca Casa Rusca, Santomaso: il paesaggio della visione, 1990-91, p. 110, illustrated
Venice, Peggy Guggenheim Collection, Giuseppe Santomaso, Lettere a Palladio, 1992-93, pl. 1
Venice, Accademia di Belle Arti, '900 all'Accademia: opere per il Nuovo Museo, 2001, p. 68, illustrated
Venice, Fondazione Giorgio Cini, Giuseppe Santomaso e l'opzione astratta, 2008, p. 168, no. 112, illustrated

Maria Volpi Orlandini, "Intervista a Giuseppe Santomaso", in: Itaca, October 1977
O. Bohigas, Sette "lettere" a Santomaso, Barcelona 1979
G. Menato, Santomaso, Valdagno 1979-1980, n.p.
Guido Ballo, La coerenza di una ricerca, in Santomaso: Opere 1939-1982, Venice 1982, p. 13
F. D'Amico, "Santomaso astratto e romantico", in: La Repubblica, 14 September 1982
S. Grasso, "Santomaso, i colori della laguna", in: Il Corriere della Sera, 19 September 1982
Giulio Carlo Argan, "Il pennello illuminista", in: L'Espresso, 10 October 1982
E. Di Martino, "Santomaso: la coscienza della pittura", in: Verso l'arte, October 1982
A. Ficarra, "Giuseppe Santomaso", in: Giuseppe Santomaso. Oltre il concetto: opere degli anni '70 e '80, Taormina 1988, p. 28
G. Cortenova, Santomaso: il paesaggio della visione, Locarno 1990, p. 29
E. Steingraber, Santomaso, Milan 1992, p. 22, illustrated, and p. 76
Fred Licht, Giuseppe Santomaso. Lettere a Palladio, Venice 1992-93
E. L. Francalanci, "Santomaso, Turcato, Vedova: tre rappresentanti veneti del Gruppo degli Otto", in: Modernità allo specchio. Arte a Venezia (1860-1960), Venice 1995, p. 266, illustrated
G. Dal Canton, "Santomaso, pittore "di sensi e di ragione". Note sulle Lettere a Palladio", in: Arte Documento, no. 14, Venice 2000, p. 235-238, illustrated

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly warmer in the original. Condition: This work is in very good condition. There are a few media accretions to the envelope, and two small areas of very light discoloration. No restoration is visible under ultra-violet 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."

"To me, Palladio represents the evolution of tradition. [...] My reality has been strongly influenced by Venetian culture, which discovered the importance of destroying forms, rebuilding them with colour. Whenever I am walking around the Zattere, and I gaze at the phantasmagorical scene of the Giudecca Canal, these are my three references: the Saviour, the Spinsters, and Saint George from Palladio. However, the sky, the white stones from Istria outlined on it, the fantastic architecture they build, I don't think of them in cultural terms. I rather live them, I absorb them." (the artist cited in: Giuseppe Santomaso, oltre il concetto opere anni '70 e '80, Turin 1988, p. 28)