Giosetta Fioroni

Collezione Simonetta Scalfari, Roma
Collezione privata, Roma
Ivi acquisito dall'attuale proprietario nel 2014

This work is in generally good overall condition. There are minor traces of stable craquelure visible under close inspection along the right upper edge and towards the lower right quadrant. Under UV light are visible few minor retouching, one towards the upper left corner and towards the right side face, by the right side eye, of the left cheek and of the right ear. There is a pin-pointed paint loss by the lower left corner visible only under close inspection.
"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."

“Cara Giosetta, le vie della poesia sono poche e tutte a senso obbligatorio. Se si parte in una certa direzione si finisce inevitabilmente in luoghi prevedibili anche se sempre nuovi. La tua maniera di togliere invece di aggiungere, di dare importanza al vuoto invece che al pieno, di definire attraverso l’assenza invece che attraverso la presenza, ti introduce senza che tu te ne accorga nella compagnia dei pittori e dei poeti giapponesi, maestri nel farci vedere ciò che non c’è.”

 Alberto Moravia

 “Dear Giosetta, the roads of poetry are little and all in an obliged direction. If you start in a certain direction, you inevitably end in predictable places even if always new. Your way of taking away instead of adding, to give importance to the empty instead of the full, to define through the absence instead of the presence, introduces you without you noticing in the company of Japanese painters and poets, masters in showing us what is not there”