Piero Dorazio

Collezione A. M. Ippolito, Roma, acquistato direttamente dall'artista negli anni Sessanta

Marisa Volpi Orlandini, Jacques Lassaigne, Giorgio Crisafi, Dorazio, Catalogo generale, Venezia 1977, n. 459, illustrato

The work is in generally good overall condition. There is a minor rubber mark with few pin-pointed paint losses towards the centre of the lower margin, visible in the catalogue illustration. There is a pin-pointed loss by the lower right corner. 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."

L'opera è accompagnata da attestato di libera circolazione.

An export licence is available for this lot.

"La mia mostra alla Biennale del 1960 aveva spiazzato tutti con una serie di superfici monocrome, bianco, nero, rosso, verde, blu, di grandi dimensioni, appese quasi in continuazione una accanto all'altra. Conservo una foto insieme a Lionello Venturi il quale si congratula calorosamente con me e io tenevo molto al suo giudizio. La mostra fu accolta con interesse da pochi, la maggior parte dei visitatori la ritennero una raccolta di tessuti, coperte e tappeti [...]. Quella mia pittura eseguita in modo classico, senza materia, dove la luce era generata proprio dalla qualità dei colori ad olio, diafani o corposi, in grado di produrre sensazioni virtuali di spazio e movimento, era come il diavolo per quegli imitatori di Burri e di Schwitters. Era di moda usare direttamente dei materiali scelti a caso invece della materia pittorica."

"My exhibition at the Biennale of 1960 had stunned everyone with a series of monochrome surfaces, white, black, red, green, blue, of large sizes, hung side by side almost in continuation. I keep a picture with Lionello Venturi who warmly congratulates me and I really cared about his judgment. The exhibition was embraced with interest by a few, most of the visitors considered it a collection of fabrics, blankets and carpets [...]. That painting of mine done in a classical way, without matter, where the light was generated precisely by the quality of the oil paints, diaphanous or hefty, able to produce virtual sensations of space and movement, it was like the devil for those imitators of Burri and Schwitters. It was fashionable to directly use randomly selected materials instead of the pictorial matter."

Piero Dorazio in Piero Dorazio. Gli Anni Sessanta, catalogo della mostra al PAC, Milano, 1998