Rodolfo Aricò

Asta Sotheby's Milano, Arte Moderna e Contemporanea, 31 maggio 1990
Ivi acquistato dall'attuale proprietario

Venezia, Palazzo Grassi, Rodolfo Aricò, 1974, n. 21, illustrato, intitolato "Area viola"

This work appears to be in generally good overall condition. There are few shallow scratches by the lower right corner, along the lower right edge and by the centre of the upper canvas, visible in the catalogue illustration. There are two minor traces of dirt to the centre of the lower edge and 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."

[...] Aricò avrebbe potuto usare un comune aerografo; e, in effeti, queste tele appaiono come dipinte con questo, normale e banale, metodo. Ma sarebbe stata un'operazione troppo meccanica ed elementare; un sistema facilmente riproducibile, addirittura seriabile. L'artista invece s'è servito di una vecchia "macchina per ramare le viti", d'uno di quegli spruzzatori che sparpagliano goccioline di liquido - ma non troppo minute - in maniera tutt'altro che uniforme. Ha ottenuto, così, il disordine nell'ordine; l'aleatorio nel programmato; l'inserirsi del caso nella progettazione rigorosa.
[...] Aricò ha saputo, dunque, prendere il caso "per la coda". Ha saputo accettare le titubazione dell'impreciso; ha saputo rinunciare alla perfettibilità del geometrico.
In questo sta la sua forza. [...]

[...] Aricò could have used a common airbrush; and, indeed, these paintings appear as painted with such a normal and trivial method. But it would have been an operation too mechanical and elementary; an easily reproducible system that can even be serialized. Instead the artist made use of an old "machine to copper the screws", one of those sprays that scatter liquid droplets - but not too minute - in a far from uniform way. He thus obtained disorder in the order; the aleatory in the programmed; the integration of the case to the rigorous design.
[...] Aricò was able, therefore, to take the case "by the tail." He knew how to accept the hesitations of the imprecise; he has been able to give up the perfectibility of the geometric. Therein lies his strength. [...]

Gillo Dorfles, 1972, in Aricò, catalogo della mostra a Palazzo Grassi, 1974