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LOT 42

In copertina | Cover Baechler, lot 15
Pagine 4 | Pages 4 Rotella, lot 51
Pagina 133 | Page 133 Turcato, lot 29

  • Retro copertina | Back cover Pagine 6-7 | Pages 6-7
  • Pagina 142 | Page 142

  • Melotti, lot 33
  • Arman, lot 25
  • Schifano, lot 30

Pagina 1 | Page 1 Dorazio, lot 42
Pagine 8-9 | Pages 8-9 Music, lot 60
Pagina 143 | Page 143

Cassinari, lot 39

SEDE - VIA SANT’AGNESE 18, 20123 MILANO

ASTA ARTE MODERNA E CONTEMPORANEA

10 NOVEMBRE 2020 MILANO, VIA SACCHI 7 – presso LA POSTERIA

23 OTTOBRE - 4 NOVEMBRE, MILANO VIA SANT’AGNESE 18 (ORARIO 10.00-19.00 – ESCLUSO FESTIVI E 29 OTTOBRE) PREVIO APPUNTAMENTO

0

7-8-9 NOVEMBRE, MILANO, VIA SACCHI 7 (ORARIO 10.00-19.00)

UNICA SESSIONE

MARTEDÌ 10 NOVEMBRE 2020 ORE 16.00 LOTTI 1 - 243

PRESENTAZIONE TELEVISIVA TOP LOTS

  • Lunedì
  • 2/11 ore 21.30-23 canale 134 del digitale terrestre

Martedì 3/11 ore 21.30-23 canale 134 del digitale terrestre

  • Giovedì
  • 5/11 ore 21.30-23 canale 134 del digitale terrestre

Venerdì 6/11 ore 21.30-23 canale 134 del digitale terrestre

OFFERTE SCRITTE

FINO A LUNEDÌ 9 NOVEMBRE 2020 ORE 15.00
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È possibile partecipare in diretta on-line inscrivendosi (almeno 24 ore prima) sul nostro sito www.ambrosianacasadaste.com

CONSULTAZIONE CATALOGO E MODULISTICA

www.ambrosianacasadaste.com da venerdì 23 ottobre 2020

AMBROSIANA CASA D’ASTE / GALLERIA POLESCHI CASA D’ASTE - VIA SANT’AGNESE 18

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20123 MILANO - TEL. 39 0289459708 - FAX 39 0240703717

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•

LOT 51

338 1226703

5

MODERN AND CONTEMPORARY ART AUCTION

NOVEMBER 10th, 2020 MILANO, VIA SACCHI 7 – next to the LA POSTERIA

OCTOBER 23rd - NOVEMBER 4th, MILAN, VIA SANT’AGNESE 18 (10.00 AM-7.00 PM – EXCEPT HOLIDAYS AND OCTOBER 29th) BY APPOINTMENT ONLY NOVEMBER 7th-8th-9th, MILAN, VIA SACCHI 7 (10.00 AM-7.00 PM)

ONE SESSION

TUESDAY, NOVEMBER 10th, 2020 - 4.00 PM LOTS 1 - 243

WRITTEN BIDS

UNTIL WEDNESDAY NOVEMBER 9th 2020 - 3.00 PM
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CATALOGUE AND FORMS AVAILABLE ON LINE

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AMBROSIANA CASA D’ASTE / GALLERIA POLESCHI CASA D’ASTE - VIA SANT’AGNESE 18

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20123 MILANO - TEL. 39 0289459708 - FAX 39 0240703717

www.ambrosianacasadaste.com [email protected]

•

LOT 30

338 1226703

  • 6
  • 7

SESSIONE UNICA

MARTEDÌ 10 NOVEMBRE, 2020 - ORE 16.00 LOTTI 1 - 243

ONE SESSION

TUESDAY, NOVEMBER 10th, 2020 - 4.00 PM LOTS 1 - 243

PER PARTECIPARE ALL’ASTA È NECESSARIO REGISTRARSI E RICHIEDERE IL NUMERO DI PARTECIPAZIONE

TO PARTICIPATE AT THE AUCTION YOU MUST REGISTER AND REQUEST A PARTICIPATION NUMBER

LOT 60

Base d’asta | Reserve price - Stima | Estimate

9

  • 1
  • 3

1

Sebastian MATTA ECHAURREN

Santiago del Cile 1911 - Civitavecchia 2002

Iragnoso, 1974

pastelli su cartoncino

coloured crayons on cardboard

cm. 100x70 Autentica dell’Archivio Matta a cura di Germana Matta Ferrari in data 26/04/2012

Certificate of the Archive Matta by Germana Matta Ferrari dated 04/26/2012

Provenienza | Provenance

Collezione privata, Milano Galleria San Luca, Bologna

3

Firma “Matta” (in basso a destra)

Signed “Matta” (lower right)

Enrico BAJ

Milano 1924 - Vergiate 2003

4

  • Base d’asta € 4.000
  • Stima € 6.000-9.000

Disperazione, 1995

acrilici su feltro / acrylic on felt pad cm. 48x96

Bibliografia | Bibliography

E. Baj “Catalogo generale delle opere dal 1972 al 1996”, 1997, Marconi, Milano, p. 453, ill. n. 2810

Firma “Baj” (in basso al centro) Etichetta “Art has a point, ArteFiera” (al retro)

Signed “Baj” (lower centre) Label “Art has a point, ArteFiera” (on the reverse)

  • Base d’asta € 6.500
  • Stima € 9.000-12.000

4

Donald BAECHLER

2

Hartford 1956

Luca PIGNATELLI

Pear, 2005

Milano 1962 pittura e collage su carta / paint and collage on paper

cm. 68x53.5

Testa femminile, 2018

olio su telone di copertura di vagone ferroviario

oil on canvas covering railcar

cm. 80x60
Autentica dell’artista su fotografia / Certificate issued by the artist Sigla e data “DB, 05” (in basso a sinistra)
Autentica dell’artista su fotografia in data 13/12/2019

Certificate issued by the artist dated 12/13/2019

Firma, titolo, data, tecnica, misura, numerazione “Donald Baechler, Pear, 2005, gouache, vinyl paint and collage on paper, 27x21 inches / 68x53,5 cm, #DB-3167-05” (al retro)

Initials and date “DB,05” (lower left)

Firma, luogo, data, titolo “Luca Pignatelli, Milano, 2018, Testa femminile” (al retro)

Signed, place, dated, titled “Luca Pignatelli, Milano, 2018, Testa femminile” (on the reverse)
Signed, titled, dated, technique, sized, numbered “Donald Baechler, Pear, 2005, gouache, vinyl paint and collage on paper, 27x21 inches / 68x53,5 cm, #DB-3167-05” (on the reverse)

2

  • Base d’asta € 7.000
  • Stima € 10.000-14.000
  • Base d’asta € 6.000
  • Stima € 8.000-12.000

  • 10
  • 11

  • 5
  • 7
  • 7

5

  • Alberto BIASI
  • Leopoldo Torres AGUERO

  • Padova 1937
  • 1924-1995

Smorfie in rosso, 2000

lamelle di PVC e tecnica mista su tavola

strips of PVC and mixed media on board

cm. 53x36

Senza titolo, 1972

acrilico su tela

acrylic on canvas

cm. 150x150
Firma, data, titolo, numero di archivio “Alberto Biasi, 2000, Smorfie in rosso, OC/871”;

Bibliografia | Bibliography

F.Elgar, “Aguero 1974”, Galleria Rinaldo Rotta,

  • Genova, 1974, ill. tav. 10
  • timbro dell’artista (al retro)

Signed, dated, titled, archive number “”Alberto Biasi, 2000, Smorfie in rosso, OC/871”; stamp of the artist (on the reverse)

Provenienza | Provenance

Galleria Rinaldo Rotta (GE) Collezione Varischetti (BG) Galleria Santerasmo (MI) Collezione privata (MI)

  • Base d’asta € 5.500
  • Stima € 8.000-10.000

Firma, data “T. Aguero, 72 oct.” (al retro)

Signed, dated “T. Aguero, 72 oct.” (on the reverse)

  • Base d’asta € 7.000
  • Stima € 13.000-15.000

8
6

6

Carlo NANGERONI

New York 1922 - Calice Ligure 2018

Struttura a elementi scorrevoli, 1969

acrilico su tela

8

acrylic on canvas

Bruno MUNARI

cm. 45x45
Milano 1907-1998

Provenienza | Provenance

Senza titolo, 1991

collage su cartoncino

collage on cardboard

cm. 20x20
Galleria Lorenzelli, Milano Firma, luogo, data, titolo, tecnica “Carlo Nangeroni, Milano, 1969, L. seriali. Struttura e elem. scorrevoli, colori acrilici”; timbro della Galleria Lorenzelli, Milano (al retro)

Signed, place, dated, titled, technique “Carlo Nangeroni, Milano, 1969, L. seriali. Struttura e elem. scorrevoli, colori acrilici”;

Autentica a cura del figlio Alberto Munari

Certificate of the son Alberto Munari

Firma, data “Munari, 91” (in basso al centro)

  • Signed, dated “Munari, 91” (lower centre)
  • stamp of Lorenzelli Gallery, Milan (on the reverse)

  • Base d’asta € 6.000
  • Stima € 9.000-12.000
  • Base d’asta € 2.000
  • Stima € 3.000-4.000

  • 12
  • 13

  • 9
  • 11

  • 9
  • 11

  • Piero DORAZIO
  • Mario SCHIFANO

12

Roma 1927 - Perugia 2005
Homs 1934 - Roma 1998

Totape, 1996
Senza titolo, 1971

smalto su tela / enamel on canvas cm. 70x120 olio su tela oil on canvas cm. 40x60

10

Autentica dell’ Archivio Generale dell’Opera di Mario Schifano, con n. 71/1

  • Certificate of the Archivio Generale dell’Opera di Mario Schifano, under no. 71/1
  • Autentica dello Studio Piero Dorazio, Todi, con n. 3469

Certificate issued by Studio Piero Dorazio, Todi, under no. 3469

Bibliografia | Bibliography

AA.VV. “Mario Schifano, opere su tela 1956-1982” tomo A I°, Università degli Studi di Genova, 2007, p. 188, rif. 71/001
Firma, data, titolo “Piero Dorazio, 1996, Totape”; timbro dello Studio Piero Dorazio con n. 3469 (al retro) Signed, dated, titled “Piero Dorazio, 1996, Totape”; stamp of Studio Piero Dorazio under no. 3469 (on the reverse)
Firma “Schifano” (in basso al centro) Etichetta della Fondazione Mario Schifano (al retro) Signed “Schifano” (lower center) Label of the Fondazione Mario Schifano (on the reverse)

  • Base d’asta € 8.500
  • Stima € 14.000-18.000

  • Base d’asta € 8.500
  • Stima € 12.000-15.000

10
12
Bruno MUNARI

Milano 1907-1998

Franco ANGELI

Roma 1935-Roma 1988

Senza titolo, 1950

tecnica mista su cartoncino mixed media on cardboard cm. 18x18

Senza titolo, 1983

collage, acquerello e matita su carta / collage, watercolour and pencil on paper cm. 99x57

Autentica a cura del figlio Alberto Munari Certificate of the son Alberto Munari
Autentica rilasciata dall’Archivio Franco Angeli con n. P-221019/1581 in data 22/10/2019 Certificate issued by the Franco Angeli Archive with no. P-221019/1581 dated 10/22/2019

Firma, data “Munari, 950” (in basso al centro) Signed, dated “Munari, 950” (lower centre)
Firma “Angeli” (in basso a destra) Signed “Angeli” (lower right)

  • Base d’asta € 3.500
  • Stima € 4.500-7.500
  • Base d’asta € 2.600
  • Stima € 4.000-5.000

  • 14
  • 15

  • 13
  • 15

Paul JENKINS

Kansas City 1923-2012

Phenomena Hearen Tree, 1984

acquarello su carta watercolour on paper cm. 79x109.5

Provenienza | Provenance

Museo Magi 900, Pieve di Cento (BO) Firma “Paul Jenkins” (in basso al centro) Firma, titolo, data, luogo “Paul Jenkins, Phenomena Hearen Tree, 1984, New York”; timbro del Museo Magi 900 (al retro) Signed “Paul Jenkins” (lower center) Signed, titled, dated, placed “Paul Jenkins, Phenomena Hearen Tree, 1984, New York”; stamp of the Magi 900 Museum (on the reverse)

  • Base d’asta € 9.000
  • Stima € 12.000-16.000

13
14

14 Andy WARHOL

Pittsburgh 1928 - New York 1987-02-22

Flowers, 1974

serigrafia colorata a mano screenprint hand-colored cm. 103.8x69.2

15 Donald BAECHLER

Hartford 1956

Yellow rose, 2009

Bibliografia | Bibliography

F. Feldman, J. Schellman, “Andy Warhol Prints. A catalogue raisonné 1962- 1987”, Ed. Schellmann A. Warhol Foundation for Visual Art Inc., 2003, p. 87 gesso, flashe e collage di giornale su carta plaster, flashe and newspaper collage on paper cm. 132x101.5
Portfolio di 10 serigrafie

Bibliografia | Bibliography

Edizione di 250 esemplari + 50 P.A.

  • V. Coen “Donald Baechler”, Pieve di Cento, 2011, p. 42, ill.
  • Stampatore: Alexander Heinrici, New York

Editore: Peter M.Brant, Castelli Graphics and Multiples, Inc. New York Firma “Andy Warhol” (in basso a destra) Firma, data, numerazione “Andy Warhol, 74, 234/250”; timbro Andy Warhol Multiples Inc. & Castelli Graphics 2, 1974 (al retro) Portfolio of 10 Edition of 250 + 50 A.P. Printer: Alexander Heinrici, New York Publisher: Peter M.Brant, Castelli Graphics and Multiples, Inc. New York Signed “Andy Warhol” (lower right)

Provenienza | Provenance

Galleria Biasutti & Biasutti, Torino Museo Magi 900, Pieve di Cento (BO)

Esposizioni | Exhibitions

Museo Magi 900, 2001 Iniziali, data “D.B., 2009” (in basso a destra)
Signed, dated, numbered “Andy Warhol, 74, 234/250”; stamp of Andy Warhol Multiples Inc. & Castelli Graphics 2, 1974 (on the reverse)
Etichetta della Galleria Biasutti & Biasutti; timbro del Museo Magi 900 (al retro) Initials, dated “D.B., 2009” (lower right) Label of the Biasutti & Biasutti Gallery; stamp of the Magi 900 Museum (on the reverse)

  • Base d’asta € 3.500
  • Stima € 5.000-8.000
  • Base d’asta € 15.000
  • Stima € 22.000-28.000

  • 16
  • 17

18
16

16 Giuseppe MIGNECO

Messina 1908 - Milano 1997

Mondina, anni 60

olio su tela oil on canvas cm. 55x45

Bibliografia | Bibliography

N. C. Luciani “Migneco Catalogo generale Volume III”, BonapArte Editrice, 1993, Milano, p. 122, ill. 2554

18 Giuseppe MIGNECO

Messina 1908 - Milano 1997

Provenienza | Provenance

Autoritratto, 1954

  • Collezione di Arte Moderna Romano Lorenzin, Milano
  • olio su tela

oil on canvas

  • cm. 70x55
  • Firma “Migneco” (in basso a destra)

Dichiarazione di autenticità da parte dell’artista; etichetta della Collezione di Arte Moderna Romano Lorenzin (al retro)

Bibliografia | Bibliography

L. D’Eramo, “Migneco, catalogo generale, volume I”, Bonaparte

  • Editrice, Milano, 1986, p.170, ill.
  • Signed “Migneco” (lower right)

Declaration of authenticity by the artist; label of Romano Lorenzin Modern Art Collection (on the reverse)
Firma, data “Migneco, 54” (in basso a destra) Signed, dated “Migneco, 54” (lower right)

  • Base d’asta € 4.500
  • Stima € 6.000-8.000
  • Base d’asta € 5.000
  • Stima € 7.000-10.000

  • 17
  • 19

17

Domenico CANTATORE

Ruvo di Puglia 1906 - Parigi 1998

19

Odalisca, anni 80 (1980-1989)

Mario SIRONI

olio su tela
Tempio Pausania 1885 - Milano 1961

oil on canvas

cm. 50x40

Nudo seduto, 1940

tecnica mista su carta intelata

mixed media on paper laid down on canvas

cm. 13.5x12
Autentica dell’artista su fotografia

Certificate issued by the artist

Provenienza | Provenance

Collezione privata, Roma Galleria d’Arte Parametro, Roma

Provenienza | Provenance

Collezione privata, Lucca Galleria Cadario, Milano

  • Firma “Cantatore” (in basso a sinistra)
  • Firma “Sir” (in basso a destra)

Timbro dell’archivio della Galleria d’Arte Parametro (al retro)

Signed “Cantatore” (lower left)

Etichetta e timbro della Galleria Cadario, Milano (al retro)

Signed “Sir” (lower right)

  • Stamp of the Art Gallery Parametro archive (on the reverse)
  • Label and stamp of Cadario gallery, Milan

  • Base d’asta € 3.000
  • Stima € 5.000-6.000
  • Base d’asta € 1.800
  • Stima € 3.000-4.000

  • 18
  • 19

21

21 >

Ulassai 1919 - Cardedu 2013

Maria LAI

Senza titolo, 1995

ricamo e tecnica mista su carta

embroidery and mixed media on paper

cm. 38x55

Provenienza | Provenance

M77 Gallery, Milano Collezione privata

Firma, data “Lai, 95” (in basso a destra)

Signed, dated “Lai, 95” (lower right)

  • Base d’asta € 16.000
  • Stima € 22.000-28.000

20
22

Aldo MONDINO

Torino 1938-2005

Fascin-Action, anni 60

tecnica mista su tela

mixed media on canvas

cm. 80x70

22

Autentica dell’Archivio Aldo Mondino con numero 20140108153017 in data 12/03/2014

Certificate of Archivio Aldo Mondino under no. 20140108153017 dated 03/12/2014

20

Bibliografia | Bibliography

“Aldo Mondino. Catalogo generale vol. 1”, a cura di Archivio Aldo Mondino, Allemandi editore, 2017, p. 175

Roberto CRIPPA

Monza 1921 - Bresso 1972

Spirale, 1952

Provenienza | Provenance

Collezione privata, Savona Galleria Giraldi, Livorno olio su tela

oil on canvas

cm. 60x120 Autentica del figlio Roberto Crippa Jr. con n. ADN S/9/VIII/03

Certificate of the son Roberto Crippa Jr. under no. ADN S/9/VIII/03

Titolo “Fascin-Action” (in alto al centro); firma “Mondino” (in basso al centro) Dedica “Per Giraldi” (al retro)

Titled “Fascin-Action” (upper center); signed “Mondino” (lower center)

Firma, data “R. Crippa, 52”; numerazione e firma del figlio (al retro)

Signed, dated “R. Crippa, 52”;
Dedication “Per Giraldi” (on the reverse) numbered and signed by the son (on the reverse)

Base d’asta € 12.000

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  • Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) Worked in Various Careers Before Turning His Attention to Sculpture Full Time at the Age of Thirty

    Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) Worked in Various Careers Before Turning His Attention to Sculpture Full Time at the Age of Thirty

    1950 Sculpture in Wood and Stone by Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) worked in various careers before turning his attention to sculpture full time at the age of thirty. His skills earned him a position as a professor of art at the University of Texas and commissions from many public and private institutions. His sculptures are created in various media, such as Lucite and steel. This exhibition of the California-based artist’s work presented thirty-seven of his sculptures. Barnes studied with Carl Milles (1875– 1955) at the Cranbrook Academy of Art. [File contents: exhibition flier] Color Compositions by June Wayne (March) June Wayne’s (1918–2011) work received publicity in an article by Jules Langsner, who praised her for developing techniques of drawing the viewer’s eye through imagery and producing a sense of movement in her subjects. Her more recent works (as presented in the show) were drawn from the dilemmas to be found in Franz Kafka’s works. [File contents: two articles, one more appropriate for a later show of 1953 in memoriam Director Donald Bear] Prints by Ralph Scharff (April) Sixteen pieces by Ralph Scharff (1922–1993) were exhibited in the Thayer Gallery. Some of the works included in this exhibition were Apocrypha, I Hate Birds, Walpurgisnacht, Winter 1940, Nine Cats, and Four Cows and Tree Oranges. Watercolors by James Couper Wright (April 3–April 15) Eighteen of James Couper Wright’s (1906–1969) watercolors were presented in this exhibition. Wright was born in Scotland, but made his home in Southern California for the previous eleven years.
  • Alberto Burri: the Art of the Matter

    Alberto Burri: the Art of the Matter

    Alberto Burri: The Art of the Matter Judith Rozner A thesis submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy Volume I – Text Volume II - Illustration March 2015 School of Culture and Communication. The University of Melbourne. Produced on archival quality paper i VOLUME I ii For Avraham and Malka Ur iii iv ABSTRACT "Alberto Burri, an Italian artist of the immediate post WWII period, introduced common, everyday materials into his art. In so doing material became both the subject of his work as well as the object out of which the work was made. This thesis argues that the primary purpose of Burri's work throughout his career was to provoke a tactile, sensuous response in the viewer, a response which can best be understood through the lens of phenomenology." v vi DECLARATION This is to certify that: I. The thesis comprises only my original work. II. Due acknowledgment has been made in the text to all other material used. III. The thesis is less than 100.000 words in length exclusive of tables, maps, bibliography and appendices. Judith Rozner vii viii Preface In 1999, following an introduction by a mutual friend, I was invited by Minsa Craig- Burri, the widow of the artist Alberto Burri, to help her compile a biography of her life with her husband.1 I stayed and worked on the manuscript at their home at 59, Blvd. Eduard VII, in Beaulieu-sur-Mar, in the South of France for about six weeks. I had not seen the artist’s work before my arrival, and on my first encounter with it I just shrugged my shoulders and raised my eyebrows at the high prices it commanded in the market.
  • Press Release April 2021 Carla Accardi Et Dadamaino, Between

    Press Release April 2021 Carla Accardi Et Dadamaino, Between

    Carla Accardi and Dadamaino, 1987. ©Giorgio Colombo Press release April 2021 Carla Accardi et Dadamaino, Between sign and transparency Two Italian artists at the frontiers of abstraction May 20 - September 18, 2021 TORNABUONI ART PARIS 16 avenue Matignon 75008 Paris I let my hand fow freely. Thus the ensemble appears denser or more sparse at times, but I do not seek these diversifcations which come spontaneously and are possible in spite of myself. For the moment, I call these signs “The alphabet of the mind” because I believe that they are the codes of a personal language. Dadamaino Accardi’s painting is rather a painting of unrestrained signs, a painting in search of the extreme tension between the rational and the irrational, between positive and negative. Her labyrinths deploy a sensual magnetism, cultivating a ferment that tends towards an agglomeration of materials and colors – limitless, structural and environmental. Germano Celant The exhibition Carla Accardi and Dadamaino: Between sign and transparency. Two Italian artists at the frontiers of abstraction exhibits works by Carla Accardi (1924- 2014) and Dadamaino (1930-2004). The exhibition approaches the artists through their research surrounding signs that they deploy in a new way, particularly on transparent supports, inviting a radical rethinking of the notion of “reading” the work of art. Carla Accardi and Dadamaino share a freedom and independence that led them to adhere to diferent artistic movements while at the same time freeing themselves from dogmatic frameworks. They created two unique paths for themselves, two distinct artistic vocabularies linked by an interest for writing and for transparency.
  • Werner Haftmann As the Director of the Neue Nationalgalerie in Berlin

    Werner Haftmann As the Director of the Neue Nationalgalerie in Berlin

    692 V. Benedettino УДК: 7.036(4), 069.02:7 ББК: 79.17 А43 DOI: 10.18688/aa200-5-66 V. Benedettino Werner Haftmann as the Director of the Neue Nationalgalerie in Berlin (1967–1974): Survey of the Curatorial Concept in the West German National Modern Art Gallery during the Cold War The following paper will present preliminary results related to key aspects of Werner Haft- mann’s curatorial activity as the director of the Neue Nationalgalerie in Berlin from 1967 un- til 1974. The archival research was undertaken in several public archives in Germany and Italy in the frame of my Ph. D. at Universität Heidelberg and École du Louvre in Paris1. Firstly, Haftmann’s biography will be briefly outlined in order to contextualize his career as an art historian in the first half of the 20th century in Germany, Italy, and after World War II in West Germany. Afterwards, the circumstances of his appointment as the director of the Neue Na- tionalgalerie, built by the renowned architect Mies van der Rohe in West Berlin from 1965 until 1968, will be discussed. Finally, Haftmann’s curatorial concept concerning temporary exhibitions and artworks purchase policy, in addition to his statement about the mission of a national modern art museum will be highlighted. The professional career of Werner Gustav Haftmann (1912–1999) must be analysed in the light of the turbulent political and historical events that occurred in Germany during the 20th century. The art historian started a successful career in the 1930s during the repressive Nazi regime and consolidated it after World War II, in the time of West Germany’s recon- struction.
  • Carte Italiane, Vol

    Carte Italiane, Vol

    Italian Art circa 1968: Continuities and Generational Shifts^ Adrian R. Diinin Mciìipliis Coìh'iic o/Art Nineteen sixty-eight has long beei) heralded as a, it not tlic, pivotal moment of the post-World War II decades. Following the assassina- tions of Malcolm X and both Kennedys, the erection of the Beriin Wall, the war in Vietnam, the first manned space flights, the Second Viitican Council and the invasion of technology throughout Europe, that single year was perhaps the most powerful and tectonic paradigm shift of the many that the decade already had witnessed. The student uprisings in Paris, the assassination of the Rev. Dr. Martin Luther King, Jr., and the invasion of Prague by Wirsaw Pact troops ali exacerbated what had been a markedly violent period, quelling the optimism that had markcd much of the decade and setting the tone for the coming malaise ot the 1970s. Italy, too, was participant in these epochal events, albeit in a sonie- what different nianner. Its students' uprisings began slightly earlier than those of France; the occupation of the University ofTrento took place in the autumn ot l*-'67. These were followed by workers' protests, with massive strikes in the first half of the year. However, the national elec- tions ot 1968 diverted much attention, and uniquely peculiar events, including the June 10''' European Championship victory overYugoslavia (2-0) and the declaration of the Republic of Rose Island off of the coast ot Rimini, made for a varied experience. Artistically, 1968 saw Italy peering across new, unexplored ter- rain. Over the course ot the prcvious few years, a group of exhibitions throughout the country began introducing those who would soon he known as (irte povcni.- The nomenclature itself was debuted at the September 1967 "Arte povera - Im spazio" exhibition held at Genoa s La Bertesca gallery, though its protagonists held noteworthy shows atTurin's Sperone gallery and Rome's L'Attico in the years preceding.
  • Roma 1950 - 1965” an Exhibition Curated by Germano Celant Presented by Fondazione Prada 23 March – 27 May 2018 Prada Rong Zhai, Shanghai

    Roma 1950 - 1965” an Exhibition Curated by Germano Celant Presented by Fondazione Prada 23 March – 27 May 2018 Prada Rong Zhai, Shanghai

    “ROMA 1950 - 1965” AN EXHIBITION CURATED BY GERMANO CELANT PRESENTED BY FONDAZIONE PRADA 23 MARCH – 27 MAY 2018 PRADA RONG ZHAI, SHANGHAI “Roma 1950-1965,” conceived and curated by Germano Celant and presented by Fondazione Prada, will open to the public from 23 March to 27 May 2018 within the spaces of Prada Rong Zhai in Shanghai. The exhibition explores the exciting cultural climate and lively art scene that developed in Rome during the period following the World War II, bringing together over 30 paintings and sculptures by artists including Carla Accardi, Afro Basaldella, Mirko Basaldella, Alberto Burri, Giuseppe Capogrossi, Ettore Colla, Pietro Consagra, Piero Dorazio, Nino Franchina, Gastone Novelli, Antonio Sanfilippo, Toti Scialoja and Giulio Turcato. Within a historical context characterized by the Italian economic boom and an increasing industrialization, the intellectual and artistic debate focused on notions of linguistic renewal and political commitment. In Italy, from the mid-1940s, innovation was embodied from a literary and cinematographic perspective through the neorealist movement, represented by film directors such as Luchino Visconti, Roberto Rossellini and Vittorio De Sica, while writers and intellectuals like Elio Vittorini and Cesare Pavese created an extraordinary period of experimentalism and international openness. In the art scene, people witnessed the spread of ferocious debates and polemics, as well as the proliferation of opposing groups and theoretical positions. Rome was one of the most vital epicenters of this clash of ideas which translated into a rethinking of idelogical realism, promoted by artistic figures like Renato Guttuso and Giacomo Manzù, as well as into an attempt to reconcile collective life with individual experience, abstraction with political militancy, art with science.
  • Tate Papers Issue 12 2009: Walter Grasskamp

    Tate Papers Issue 12 2009: Walter Grasskamp

    Tate Papers Issue 12 2009: Walter Grasskamp http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/gras... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue To Be Continued: Periodic Exhibitions ( documenta , For Example) Walter Grasskamp Between 1978 and 1983 I worked for the German art magazine Kunstforum International that planned to publish its fiftieth volume in 1982, the year of the seventh documenta . I proposed that we should dedicate the issue to the history of the documenta , combining our minor jubilee with the major event that had re-established West Germany as an international forum of modern art in 1955. Having heard that a documenta archive existed in Kassel, I expected that little work would be needed. ‘Just grab the photos and run’, I thought, but I was wrong. The archive in Kassel turned out to be quite a respectable library, consisting of catalogues and books on modern and contemporary art, most of them debris from the previous six exhibitions sent in by gallerists and artists, or bought for, and left behind by, the various exhibition committees. More appropriate to the name and function of an archive was an impressive collection of press clippings and reviews, stored in folders that also contained letters, drafts and other material written by the founders and curators of the first six documentas . When I asked for installation photographs of the exhibitions, however, I was shown a metal locker in the corner of the room, brim-full of envelopes and files containing heaps of photographs and papers. But it seemed that the locker had been opened for me for the first time in years: a quick examination showed that most of the photographs were unsorted and had no comments, or only laconic comments, on the back, some not even giving the number of the documenta in which they had been taken.
  • 5.7 Apparato Documentario E Iconografico N. 4

    5.7 Apparato Documentario E Iconografico N. 4

    5.7 Apparato documentario e iconografico n. 4 a) scheda della mostra Titolo: documenta III. Internationale Ausstellung, Kassel Periodo: 27 giugno - 5 ottobre 1964 Società titolare: documenta GmbH, Kassel Direttore artistico: Arnold Bode Comitato per la pittura e la scultura: Arnold Bode, Gerhard Bott, Herbert Freiherr von Buttlar, Will Grohmann, Werner Haftmann, Alfred Hentzen, Erich Herzog, Kurt Martin, Werner Schmalenbach, Heinrich Stünke Eduard Trier, Zoran Kržišnik, Giuseppe Marchiori, Josia Reichhardt, Peter Selz. Comitato per il disegno: Werner Haftmann, Jan Heyligers, Wolf Stubbe, Heinrich Stünke, Eduard Trier Presidente del consiglio: Sindaco Karl Branner; vicepresidente: Presidente del Land Alfred Schneider Allestimenti: Arnold Bode (collaboratori: Rudolf Staege, Lorenz Dombois) Segretario: Theodor Ascher Sedi: Museum Fridericianum, Orangerie, Neue Galerie Opere: 1450 opere; 280 artisti Peasi coinvolti: 21 Visitatori: oltre 200.000 Costi e finanziamenti: - Preventivo 1.400.000 DM - Costi sostenuti: 2.437.000 Dm - Ricavo dagli ingressi: 443.000 DM - Donazioni: 340.000 DM - Altre entrate: 237.000 DM - Contributi: Bund 100.000 DM; Land Hessen: 350.000 DM; Stadt Kassel: 390.000 DM. Cataloghi: - Documenta III: Internationale Austellung, 27. Juni-5. Oktober 1964, Kassel, Alte Galerie, Museum Fridericianum, Band. 1, Malerei, Skulptur, DuMont Schauberg, Köln 1964. - Documenta III: Internationale Austellung, 27. Juni-5. Oktober 1964, Kassel, Alte Galerie, Museum Fridericianum, Band. 2, Handzeichnungen, Hessische Druck- und Verlagsanstalt,