Piero Dorazio

Galleria Martano, Torino
Frittelli Arte Contemporanea, Firenze
Ivi acquistato dall'attuale proprietario

Londra, Galleria Marlborough Fine Art, Piero Dorazio, 1966, illustrato
Venezia, XXXIII Biennale Internazionale d'Arte, 1966
Stoccolma, Svensk-Franska Konstgalleriest, Piero Dorazio, 1967
Bruxelles, Palais de Beaux Arta, Europalia, Saison Italienne, 1969
Torino, Galleria Martano 2, 1970, illustrato

Marisa Volpi Orlandini, Dorazio, Venezia 1977, n. 820, illustrato

This work appears to be in generally good overall condition. There are some light traces of wear along the right edge towards the center and the lower section, and along the lower edge towards left and the center, where there is also a light trace of dirt. There is a pin-pointed hole to the right of the red and orange stripes intersection, towards the left of the composition. To the left of the fourth white stripe there are shallow surface scratches. Colours are fairly accurate compared to the original. 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."

Nei primi quadri di Dorazio il segno era un modulo, parte unica e perfettissima di una struttura: il quadro diventava un campo magnetico, un setaccio implacabile per la luce. Poi questo "persuasore ottico" rivela il suo metodo: ingradisce a dismisura le linee incorciate, quasi inquadrando al microscopio un particolare dei quadri precedenti. E oggi passa alla ribalta il "segno" divenuto personaggio liberissimo.

In the first works by Dorazio, the segno was a unique and flawless part of the structure: the painting was becoming a magnetic field, an implacable sieve for the light. This optic inducer later revels his method: it enlarges disproportionally the crossed lines, nearly framing on the microscope a detail from previous painting. Today is evident that the segno becomes the unique and deeply free protagonist.

Maurizio Fagiolo Dell'Arco