GIUSEPPE CIVITELLI | Vaso

Steinberg Foundation Vaduz, Liechtenstein
Ivi acquistato dall'attuale proprietario nel 1988

Londra, Estorick Collection of Modern Italian Art, Terra Incognita: Italy's Ceramic Revival, 2009, pp. 10-11, illustrato a colori

The Hockemeyer Collection. 20th Century Italian Ceramic Art, Monaco di Baviera 2009, pp. 62-63, illustrato a colori

A professional condition report is available upon request at the department.
"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'affinità di Giuseppe Civitelli con l'argilla e la sua svolta creativa come ceramista-pittore coincise con il suo trasferimento a Roma nel secondo dopoguerra, quando la capitale italiana si stava rapidamente trasformando in uno dei centri artistici d'avanguardia più vivaci del paese. Le sue esplorazioni creative, in linea con la ricerca dei movimenti contemporanei di avanguardia romana Forma 1 e Gruppo Origine, ambivano a rinnovare il canone italiano dei linguaggi artistici al di là della tela dipinta, riunendo forma fisica ed estetica attraverso l'astrazione geometrica e antropomorfica. Il grande Vaso del 1955 con il suo design geometrico bicolore rappresenta un’opera importante dell'artista, definita dall'equilibrio e dall'armonia raggiunti attraverso l'unione insolubile tra la costruzione artigianale, il corpo in ceramica dalla forma moderna e la sua decorazione pittorica astratta. In Vaso del 1956, invece, si possono identificare riferimenti a diversi stimoli artistici internazionali come l'arte di Wilfredo Lam e Pablo Picasso, due tra gli artisti stranieri più discussi ed eminenti che hanno esercitato importanti influenze sulla scena artistica e sull'arte della ceramica del dopoguerra italiano.

Giuseppe Civitelli’s affinity with clay and his creative breakthrough as a ceramist–painter coincided with his move to Rome following World War II, when Italy’s capital was quickly turning into one of the country’s most vibrant avant-garde artistic centers. His creative explorations, in line with the research of the contemporary Roman avant-garde movements Forma 1 and Gruppo Origine, sought to renovate Italy’s canon of artistic languages beyond the painted canvas by bringing together physical form and aesthetics through geometric and anthropomorphic abstraction. The large-scale Vaso of 1955 with its two-tone geometric design represents an important work by the artist, defined by the balance and harmony attained through the insoluble union between the artisanal build-up, its modernly shaped ceramic body and painterly abstract decoration. In Vaso of 1956, on the other hand, one can identify references to various current international artistic stimuli such as the art of Wilfredo Lam and Pablo Picasso, two of the most talked-about and eminent foreign artists who exerted important influences on Italy’s post-war artistic scene and ceramic art.