Search results for ""Author Luca Massimo Barbero""

Art, history and culture from 1948 to 1986. Nine hundred extraordinary photographs recreate the atmosphere of the post-war international art scene in Venice. Featuring artists such as Léger, Ernst, Picasso, Mattisse, Dalí, Fontana, Beuys, Oldenberg, Lichtenstein and Rauschenberg.

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Published to accompany the first time the Luigi and Peppino Agrati Collection will be revealed to the public; the collection can be viewed between May and August 2018. During the Festival of Nouveau Realisme (New Realism) in Milan in November 1970, Christo removed the white cloth in which he had wrapped the Monument to Vittorio Emanuele II in the Piazza del Duomo and placed it over the Monument to Leonardo da Vinci in the Piazza della Scala. This is viewed today as a key event in the contemporary art scene in Milan, a moment that Luigi and Peppino Agrati experienced live. They immediately contacted the artist and commissioned him to create works for the garden of their villa. Wealthy entrepreneurs, the Agrati brothers shared subtle and sensitive insights into art that fostered a deep understanding of the images that shaped their era. This show is the first time their collection is being revealed to the public, through a representative selection of Italian and American works of art donated with generosity and foresight by Luigi Agrati to the Intesa Sanpaolo. From a nucleus of sculptures by Melotti to masterpieces by Fontana, Burri, and Klein, the exhibition provides an in-depth examination of Italian 'Nuova Figurazione' painting ('New Figurative Painting'), working its way to the roots of the new 'Arte Povera' ('Poor Art'). The discovery of American art coincides with the Agratis' acquisition of works by the principal exponents of Pop Art - including the iconic Andy Warhol and his monumental Triple Elvis - and by the Minimalists, of which Dan Flavin's large neon work dedicated to Peppino Agrati is emblematic. In a kind of multiple constellation side by side with examples of Italian art, the collection reveals extraordinary works by Robert Rauschenberg (acquired in large numbers from the end of the 1960s to the 1980s), Cy Twombly (the original mediator between American and Italian art), and conceptual artists like Bruce Nauman and Joseph Kosuth, whose experiments with language are displayed in a dialogue with those by Alighiero Boetti and Vincenzo Agnetti.

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Tornabuoni art returns to the origins of sculptor Arnaldo Pomodoro's work (1926, Morciano di Romagna), specifically to the years 1956-1965, a pivotal period of the artist's production. His creations, initially derived from the goldsmithing produced side by side with the brothers Gio and Giorgio Perfetti, evolves towards small concrete and lead reliefs, then in large mural panels engraved with illegible glyphs, inspired by Mesopotamian tablets' cuneiform writing, Egyptian papyruses and Paul Klee's graphic style. In 1960, Pomodoro was among the founders of the group Continuità, next to Novelli, Consagra, Tancredi, Dorazio and Fontana, preaching an 'aesthetic of continuity', defined as 'the absence, the incertitude of limit' and attached to the formal aspects of artworks. He thus produced his first Sfere, adopting gilded polished bronze as his preferred material of work, and of which the creation marks the definitive transition to monumental scale of his career. Today, Pomodoro's creations can be found in prestigious museum collections such as the Guggenheim in New York and the Vatican Museums. Moreover, his monumental artworks are exhibited in more than 40 public squares in major cities around the world. The artist lives and works in Milan, Italy. Text in English and Italian.

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The catalogue raisonné of the works on paper by Lucio Fontana (Rosario de Santa Fe, 1899 – Varese, 1968) is one the most complete and cutting-edge publications on this fundamental aspect of the work of one among the leading protagonists of twentiethcentury’s artistic development. Experimentation on paper was Fontana’s chosen means to test the richness and novelty of his inspiration. In fact, through his works on paper he would constantly verify his insights, both in the embryonic and defining stage of his formal and conceptual discoveries. This catalogue raisonné starts with the astonishing corpus of figural works and culminates in the artist’s original invention of “spatial” art, which led to the creation and development of the highly individual “holes,” “environments” and “slashes.” The catalogue raisonné presents more than 5,500 works executed between 1928 and 1968, with individual entries that include bibliographical and exhibition reference.

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Lucio Fontana (1899-1968), is universally acknowledged as one of the foremost figures in the generation of artists who, in the 1950s and '60s, helped bring about a radical conceptual and linguistic change in contemporary art. The role he played was explored by scholars and critics in the early years of the post-war period, and his work constituted a model for the younger generation of artists in Europe. In the past two decades, Fontana has achieved significant international renown. The essays in this catalogue by Enrico Crispolti, Luca Massimo Barbero, Caterina Toschi and Piero Dorazio offer insights into the origins and characteristics of Spatialism, the artistic movement Fontana founded, which synthesised colour, sound, space, movement, and time into a new type of art. Text in English and Italian.

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Departing from his earlier figurative works and engagement with Futurist ideals, Italian painter Osvaldo Licini (1894–1958) turned away from realism in 1940 and painted only abstract works from then on. His paintings from that fruitful decision engage in a surrealist language of precise lines, solid colors and pregnant signs; colors and signs that Licini viewed as expressions of energy, willpower, ideas and magic. This catalog of Licini's show at the Peggy Guggenheim Collection in Venice, the most comprehensive monograph of his work, marks the 60th anniversary of his death. That same year, Licini won the National Grand Prize for Painting at the 29th Venice Biennale, where he had shown 53 works—executed between 1925 and 1958—in a room of his own, mounted by Carlo Scarpa. This catalog gathers his complete works, including those displayed in that same venue 60 years prior to this 2018 show.

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