Lucio Fontana II - Pagina 5
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  1. #41
    L'avatar di artebrixia
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    qui i C, B & F mi sembrano
    un pò disincantati, persi, anche incavolati.

    Secondo me pensavano
    "speriamo che i televenditori se ne stiano alla larga"
    Anteprime Allegate Anteprime Allegate Lucio Fontana II-12744012_551739361656165_2550955205007923617_n.jpg  

  2. #42
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    se non ricordo male scattata nello studio di Castellani (vedi i pantaloni)

  3. #43
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    Citazione Originariamente Scritto da mmt Visualizza Messaggio
    se non ricordo male scattata nello studio di Castellani (vedi i pantaloni)
    oppure nell'orto di Bonalumi
    (vedi le scarpe)

  4. #44
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    secondo me 1966

  5. #45
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    Enrico Castellani, Agostino Bonalumi e Lucio Fontana, Milano 1965.

    Fonte FlashArt

  6. #46

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    Che ne pensate?

    Buonasera,
    che ne pensate ... a che prezzo si puo' comprare?
    Grazie,


    FONT.pdf
    un cordiale saluto

  7. #47
    L'avatar di artebrixia
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    Citazione Originariamente Scritto da drarte Visualizza Messaggio
    Buonasera,
    che ne pensate ... a che prezzo si puo' comprare?
    Grazie,


    FONT.pdf
    un cordiale saluto
    serigrafia in nero su plastica trasparente - cm. 50x70
    100 es. + 50 in nr romani)

    oppure serigrafia in rosso ? - cm. 48,5x68,5
    120 es.

    comunque come quotazione cambia poco,
    sui 1,5 k al massimo

  8. #48
    L'avatar di marcdeni
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    E la posto anche qui perché so che Artebrixia ci tiene ...

    Cardi Gallery is pleased to present a curated show by italian Artist Pino Pinelli, in conversation with Lucio Fontana.

    Please do not hesitate to contact us at mail@cardigallery.com if you require any further information regarding press materials and prices.

    BOOTH 517
    The Armory Show New York City
    March 2-6
    Pier 94, 12 Avenue at 55th Street


    Pino Pinelli

    Pino Pinelli was born in 1938 in Catania, where he studied art. In 1963 he moved to Milan, where he still lives and works. In those years, he was attracted and fascinated by the artistic debate, which was truly alive thanks to personalities such as Lucio Fontana, Piero Manzoni, Enrico Castellani.
    After taking part in San Fedele Prize, in 1968 he held his first solo exhibition at Galleria Bergamini. At the beginning of the seventies Pinelli opened a period of reflection and research, in which he tried to focus on the essential link between tradition and innovation, with particular attention to the painted surface and to the vibrations of painting. This is how the series of the “Topologies” and of “Monochromes” were born. The surface began to be driven by a subtle uneasiness, as if the artist wanted to show us the breathing and tension of painting itself. These works made him one of the leading artists of the artistic trend defined by the art critic Filiberto Menna as Analytical Painting.
    Starting from 1976 Pinelli began to drastically decrease the size of his paintings, placing them in the space, juxtaposed one next to the other and scattered into the space as if an explosion had invested his large canvases and generated a a dissemination of their fragments in space. The artist had abandoned the canvas and frame following his attraction toward the concept of painting itself. As Giovanni Maria Accame wrote in the monography Pino Pinelli, continuità e disseminazione (Lubrina, Bergamo 1991): “Through these buck- skins, for Pinelli, the idea of a painting limited by edges comes to an end. He opened, on the contrary, the perspective of a constantly moving painting inside the phenomenal changing world. A migration of painting from the picture does not imply a negation of painting itself but indicates, instead, a different conception. Painting is explored in a different way but, at the same time, it explores an absorbing and never finishing space. It squeezes itself to expand and it looks like hiding but it is revealing itself, instead”. Pinelli’s works are fascinating beyond the analytical painting label: they are unsettling particles wandering through space in wide or small combinations, bringing memories of an impatient flexibility on their own skin. They show the tactile physicality and visual beauty of colours releasing light vibrations.




    Cardi Gallery
    Corso di Porta Nuova 38, Milano IT
    22 Grafton Street, MayFair London UK
    mail@cardigallery.com
    Cardi Gallery
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  9. #49
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    e lo commento anche qui

    Un oltraggio a Fontana, si starà rivoltando nella tomba

  10. #50
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    " in conversation with Lucio Fontana."

    vorrei fare tanto un salto indietro nel tempo
    ma non è possibile

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