Null Mario Sironi, L'incontro



abaut 1950

Tempera, ink and pencil traces on c…
Descrizione

Mario Sironi, L'incontro abaut 1950 Tempera, ink and pencil traces on cardboard (on canvas) H36.1 x L52.5 cm (H14.21 x L20.67 in ), Provenienza Private collection, Monza Esposizione "Mario Sironi 1885-1961", touring retrospective exhibition on the 50th anniversary of his death, Padiglione Cultura-Expo Arte Bari, Bari, 18 - 20 May 2012 Letteratura F. Bellonzi, "Sironi", Ed. Electa, Milan, 1985, p. 159, n. 166. Exhibition catalogue "Mario Sironi 1885-1961" curated by Andrea Sironi Straußwald, Claudio Spadoni, Estemio Serri, Ed. Cinquantasei, 2012, p.12 Certificato The work is accompanied by a declaration of authenticity issued by Andrea Sironi Straußwald, Associazione per il patrocinio e la promozione della figura e dell'opera di Mario Sironi, Milan on 23 October 2012. Archive No. 125/12RA

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Mario Sironi, L'incontro abaut 1950 Tempera, ink and pencil traces on cardboard (on canvas) H36.1 x L52.5 cm (H14.21 x L20.67 in ), Provenienza Private collection, Monza Esposizione "Mario Sironi 1885-1961", touring retrospective exhibition on the 50th anniversary of his death, Padiglione Cultura-Expo Arte Bari, Bari, 18 - 20 May 2012 Letteratura F. Bellonzi, "Sironi", Ed. Electa, Milan, 1985, p. 159, n. 166. Exhibition catalogue "Mario Sironi 1885-1961" curated by Andrea Sironi Straußwald, Claudio Spadoni, Estemio Serri, Ed. Cinquantasei, 2012, p.12 Certificato The work is accompanied by a declaration of authenticity issued by Andrea Sironi Straußwald, Associazione per il patrocinio e la promozione della figura e dell'opera di Mario Sironi, Milan on 23 October 2012. Archive No. 125/12RA

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FALCONETTO, Giovanni Maria. Architectural study for a Composite Order Column. 410x197 mm. Pencil and pen with black ink. Various writings and numbers in pencil and pen. Sign of use, good conditions. This is a project intended for the construction of an important architecture. The drawing must serve as an operational guide for the artists who have to perform the work, as can be clearly seen from the handwritten notes. In the center a long writing in pen with precise technical indications for the construction of the column “ricordo per lo scalpellino di pigliare un fero per regere il fregio et cornice sopra l’architrave et ancho acio non si spelli detto architrave per il vano grande” (I remember for the stonemason to take a iron to regulate the frieze and frame above the architrave and still do not peel said architrave for the large room). Below, in pencil “Prospetto del piedistallo” (View of the pedestal). The drawing, whose handwritten notes suggest a Venetian author, is attributable to Falconetto. We note that the shadings are very similar to those present in a drawing by the Falconetto, kept in the Prints and Drawings Department of the Dresden Museum.The Veronese architect and decorator participated in the construction of the Palazzo d’Arco in Mantua, whose facade is marked by a giant composite order of pilasters, resting on a high base, very similar to the one outlined in this sheet. In Padua, then, Falconetto used the elegant columns of the Composite Order in the magnificent Porta Savonarola, erected in 1530, which looks like a triumphal arch and is also mentioned by Vasari.In addition, in the Basilica of Sant’Antonio he also participated in the construction of the Chapel of the Ark of the Saint: the facade, all of fine marble, is supported by four beautiful Composite Order columns in white Carrara marble. Falconetto is certainly credited for the decoration of the ceiling of the Chapel, but it appears very likely that he also had a supervisor role, given his recognized importance in the artistic panorama of the time.See Bonaventura Perissutti (O.F.M. Conv.), Devoted and erudite news about the Life and the famous Basilica of St. Anthony of Padua, Niccolò Bettinelli, 1796, p. 32: "The architect of this chapel [...] is wanted to be Giovanni Maria Falconetto Veronese ..."; Sarah Blake Wilk, The sixteenth-century decoration of the Chapel of the Ark of Sant'Antonio, in The sculptures of the Saint of Padua, curated by Giovanni Lorenzoni, Vicenza, Neri Pozza 1984.