Null MISCELLANEOUS AUTHORS.
Cameraphoto Venice 1946-76
1996
Illustrated catalog …

Description

MISCELLANEOUS AUTHORS. Cameraphoto Venice 1946-76 1996 Illustrated catalog published on the occasion of the exhibition held at the Ken Damy Museum, Milan (November 20 - December 22, 1996) and the Ken Damy Museum, Brescia (November 24, 1996 - January 12, 1997) 34 x 24 cm Museum edition Without number of pages Defects

438

MISCELLANEOUS AUTHORS. Cameraphoto Venice 1946-76 1996 Illustrated catalog published on the occasion of the exhibition held at the Ken Damy Museum, Milan (November 20 - December 22, 1996) and the Ken Damy Museum, Brescia (November 24, 1996 - January 12, 1997) 34 x 24 cm Museum edition Without number of pages Defects

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Alberto SAVINIO (1891-1952) Machine for fertilizing trees, 1929 Oil on canvas signed and dated lower left. Small chips and missing parts, restoration. 81 x 65 cm Provenance: Jeanne Castel collection, Paris; private collection, Paris Bibliography: Fagiolo, 1980, p. 221; Vivarelli, catalogo Verona, 1990-1991, p.154?; Pia Vivarelli, Alberto Savinio, catalogo generale, Electa, Milano, 1996 reproduced and described p. 65, no. 1929 7. We would like to thank the Archivio Alberto Savinio for confirming the authenticity of this work. A certificate from the Archivio Alberto Savinio will be given to the purchaser. "The Parisian sojourn: at Savinio's first exhibition, inaugurated on October 20, 1927, at the Galerie Jacques Bernheim in Paris, no less than twenty-six paintings and an unknown number of drawings were presented... The first Savinio exhibition was well received. However, it was not until 1929 - a year of intense work, with no less than sixty-six paintings, almost all dated by the artist - that Savinio's works were exhibited in Paul Guillaume's personal collection, in group exhibitions of artists around Léonce Rosenberg, at the L'Effort Moderne gallery, and in exhibitions of Italian painters, at the Zak and Bonaparte galleries... Finally, there is no documentary evidence of a solo exhibition, also in 1929, at Galerie Jeanne Castel, which is indicated by several sources: an information sheet, dated December 15, 1932, written by Savinio himself and sent to the Venice Biennale (Venice A.S.A.C.) and in the biographical note included in Costantini's 1934 essay. Although it is highly probable that the gallery owner with whom the artist had an exclusive contract organized a solo exhibition of his paintings, no trace of it has been found in the art magazines of the time, either at the date of 1929 or later ....?" in Alberto Savinio, catalogo generale, Pia Vivarelli, Electa, Milano, 1996. "From 1928 onwards, Savinio's narrative tension for a complex, primordial world and, in accordance with the Heraclitean principle, a world in continuous becoming, became clearer. In the rich iconography of his Parisian production, characterized by polymorphous imagery and shifting, fantastical apparitions, the theme of toys appears in 1927-1928. The cycle is variously treated in the 1930s and beyond as an accumulation of objects abandoned in the forest or on the beach, a pyramidal monument of dubious stability assembled on rocks and platforms, a funerary monument, precious pirate booty abandoned at sea, a universal machine or a tree-fertilizing machine" in Nicoletta Cardano, Alberto Savinio, la Comedia dell'Arte, Milano Palazzo Reale, 2011, cat. "Jeanne Castel, secretary to gallery director Paul Guillaume and herself an art dealer, was one of the first art dealers in Paris to take an interest in Savinio's paintings. She and Savinio concluded a contract at the end of 1927, which is documented in a letter Savinio wrote to Lionello Fiumi on November 5 of the same year (published in Realtà, November-December 1954)" in Alberto Savinio, paintings and drawings, 1925-1952, Accademia Italiana delle Arti e dellle Arti Applicate, London, 1992, cat.

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Schätzw. 50 - 75 EUR

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