Giulio Turcato

Luca Beatrice, Viva l'Italia, Perugia 2008, p. 72, illustrato

This work is in very good condition overall. By the upper right corner of the surface there is a small indentation mark in correspondence of the red pigment. There is a superficial and small scratch near the upper left corner. As visible on the catalogue illustration along the margins the pigment gets weaker in some areas as the material consistence of the foam rubber is thinner and there are some minor paint losses. Towards the center of the surface there are some minor paint losses visible on the catalogue illustration.
"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."

“Il colore, che non è un colore, della gommapiuma, appena rialzato, a campi, da una vernice che lo “improfondisce”, oppure retrocesso spazialmente da una sapiente grattatura, pone l’immagine del quadro come fuori dal tempo dello spazio e naturalmente, proprio nel suo spazio che, se volete, è lunare, sognato, lontano e vicino, come appunto le immagini del sogno che sono reali e irreali al tempo stesso. Nulla di meno appariscente, nulla di meno “rumoroso”.”

Floriano De Santi, Turcato, 1990

  “The colour, which is not really a colour, of the foam rubber, slightly raised, at patches, by a paint that makes it “deeper”, or instead regressed spatially by a voluntary scraping, poses the image of the painting outside of time and space and naturally, in its own space, it is is lunar, dreamlike, far and close, as the images of a dream which are real and unreal at the same time. Nothing less striking, nothing less “loud”.”