拍品 3432 - A207 战后和当代 - Donnerstag, 30. November 2023, 02.00 PM
AGOSTINO BONALUMI
(Vimercate 1935–2013 Monza)
Giallo. 1999.
Acrylic on shaped canvas.
Signed, dated and with directional arrow on the stretcher: Bonalumi 1999.
146 × 180 x 8 cm.
With the signed and dated photo expertise by the artist of the Archivio Bonalumi, Milan 2002. This work is registered there under the number: 99-007.
Provenance:
- Galleria D'Arte Niccoli, Parma.
- Purchased from the above by the present owner, since then private collection Switzerland.
Exhibitions:
- Parma 2000, Bonalumi. Evoluzione continua tra pittura e ambiente, Galleria Niccoli, p. 137.
- Milan 2010, Agostino Bonalumi. Galleria Arte 92, p. 13.
Literature: Bonalumi, Fabrizio: Agostino Bonalumi Catalogo ragionato, Milan, 2015, vol. II, no. 1555.
As a member of the ZERO group and because of his significant contribution to abstract art and Op Art, the artist Agostino Bonalumi was one of the most important protagonists of the post-war avant-garde. This was a period when artists were moving from an old state of being to a new one, and which was characterised by stillness, absence and silence.
With their light-based kinetic objects that interact with surfaces, light and space, the members of this movement generated a new purist aesthetic that in terms of appearance could be situated between painting and sculpture. Alongside the artists Turi Simeti, Enrico Castellani and Dadamaino, Agostino Bonalumi explored the wider physical possibilities of the classic canvas as an expression of volume.
Agostino Bonalumi's style is characterised by his inventive, monochrome, three-dimensional shaped canvases. He manipulated his acrylic-coated canvases using materials such as metal and wood to create reliefs and structures on the picture surface. He used flexible canvases that follow the curves of the projections smoothly yet with tension. As we can see in this wonderful example, titled "Giallo", the protrusions of the bright yellow canvas create the illusion of an invisible force pushing out from behind. The traditionally flat canvas takes on an increasing dynamism as it seeks to extend beyond the stretcher, lending a sculptural dimension to the whole piece. The interplay of light, shadow and subtle colour variations also emphasises the mobility of the surface, enhancing the spatial quality of this artwork.
Provenance:
- Galleria D'Arte Niccoli, Parma.
- Purchased from the above by the present owner, since then private collection Switzerland.
Exhibitions:
- Parma 2000, Bonalumi. Evoluzione continua tra pittura e ambiente, Galleria Niccoli, p. 137.
- Milan 2010, Agostino Bonalumi. Galleria Arte 92, p. 13.
Literature: Bonalumi, Fabrizio: Agostino Bonalumi Catalogo ragionato, Milan, 2015, vol. II, no. 1555.
As a member of the ZERO group and because of his significant contribution to abstract art and Op Art, the artist Agostino Bonalumi was one of the most important protagonists of the post-war avant-garde. This was a period when artists were moving from an old state of being to a new one, and which was characterised by stillness, absence and silence.
With their light-based kinetic objects that interact with surfaces, light and space, the members of this movement generated a new purist aesthetic that in terms of appearance could be situated between painting and sculpture. Alongside the artists Turi Simeti, Enrico Castellani and Dadamaino, Agostino Bonalumi explored the wider physical possibilities of the classic canvas as an expression of volume.
Agostino Bonalumi's style is characterised by his inventive, monochrome, three-dimensional shaped canvases. He manipulated his acrylic-coated canvases using materials such as metal and wood to create reliefs and structures on the picture surface. He used flexible canvases that follow the curves of the projections smoothly yet with tension. As we can see in this wonderful example, titled "Giallo", the protrusions of the bright yellow canvas create the illusion of an invisible force pushing out from behind. The traditionally flat canvas takes on an increasing dynamism as it seeks to extend beyond the stretcher, lending a sculptural dimension to the whole piece. The interplay of light, shadow and subtle colour variations also emphasises the mobility of the surface, enhancing the spatial quality of this artwork.
CHF 50 000 / 60 000 | (€ 51 550 / 61 860)
以瑞士法郎銷售 CHF 62 500 (包含買家佣金)
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