Roberto Crippa

Galleria Schwarz, Milano
Movimento Arte Contemporanea, Milano
Ivi acquistato dall'attuale proprietario

Gimmi Stefanini, Roberto Crippa Jr, Roberto Crippa. Catalogo generale, Milano 2007, vol. I, rep. 467, illustrato

This work is in generally good overall condition. There are 2 tiny losses towards the center of the upper edge, towards the upper right edge and 1 by the lower left corner.
"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."

"[...] i quadri diventano oggetti in rilievo, con sugheri, carta, amiantite ed altre materie, diventano pittura-scultura. Anche questa, in realtà, è una tecnica che ha ormai lontane ascendenze, in Schwitters e in altri dadaisti: ma ciò che importa è come in Crippa assuma un valore nuovo, tipicamente spaziale, per l'ampio respiro, per il continuo spostamento dei fuochi compositivi, per la perentorietà delle immagini, dove il sughero e le altre materie dei collages acquistano evidenza di timbro, anche per i valori del cromatismo mediante l'uso di acrilici." 

Guido Ballo, dal catalogo della mostra a Palazzo Reale, Milano 1971

“[…] the paintings become objects with their own depth, with corks, paper, asbestos and other materials, they become sculpture-paintings. This is a technique that goes a long way back, from Schwitters to other Dadaists: but what is important is how Crippa takes in account a new value, tipically spatial, to give more air, for the continuous movement of the fire that composes the piece, for the undisputable images, where the cork and other materials that make up his collages acquire even more importance, even thanks to the chromatics given by the use of acrylics…”