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Mario Comensoli Fine Art Gallery - Catalogue 2009 AVANT-GARDE ART AVANT-GARDE Avant-Garde Art Max Bill Marc Chagall Mario Comensoli Alberto Giacometti Renato Guttuso Hans Hartung Max Huber Marino Marini Henry Matisse Joan Miró Pablo Picasso Mario Radice Mimmo Rotella AVANT-GARDE ART AVANT-GARDE GEOMETRICAL COMPOSITION 1971 Max Bill Serigraph, 700mm x 500mm, 1908 Winterthur, 1994 Berlin signed and numbered 88/200 Serigraph, Architect, painter, designer, pro- Member of the Flemish Academy of fessor and politician, Max Bill was Science, of the Literature and Fine MAX BILL amongst those who gave a new Art of Brussels and of the Berlin direction to design in the sphere Academy of Arts, Max Bill showed of the Concrete Zurich movement. he was capable of transposing ar- Proof of this is the Hochschule für tistic content into the most diver- Gestaltung in Ulm, Germany, con- se spheres, combining the art of stituted by Inge Aicher Scholl and daily life like, for instance, creating Sold Otl Aicher in 1953 which continued watchers for Junghans and posters the great Bauhaus tradition, intro- for the 1972 Olympic Games. ducing new and important impul- ses. Max Bill was not satisfied by the influences of Kandinsky, Klee, and Schlemmer in his artistic creations. Rather, he experimented with his works on the creation of shapes able to represent the mathemati- cal complexity of modern physics through the senses. GEOMETRICAL COMPOSITION 1971 700mm x 500mm, signed and numbered 57/150 AVANT-GARDE ART AVANT-GARDE Marc Chagall Sold 1887 Vitebsk - Belarus, 1985 Saint Paul de Vence Fauvism, Symbolism, Cubism, Or- tations of constant themes such as phism and Surrealism are only some country life in Russia, family, youth- MARC CHAGALL of the artistic currents connected to ful dreams, folklore and the nostal- Marc Chagall’s artistic work, pione- gia for one’s homeland. In his wor- er of Modernism, whose work is so ks, time and space collapse in favour exuberant that it cannot be placed of a parallel dreamlike reality that is into any kind of classification or often joyful, where everything beco- medium. Illustrated books, cerami- mes possible: the uncertainties and cs, canvas, prints, theatre costumes the extremisms of the 20th centu- and stained glass are just some of ry, experienced in the first person, the mediums which capture the dre- are beaten with symbols, colours, amlike and poetic images that Cha- details and metaphors that are not gall gave shape to, in the represen- always easy to read. DIE BUCHT VON NIZZA, 1970 Colour lithograph, 768mm by 518mm, signed Bibliography: Sorlier 133 AVANT-GARDE ART AVANT-GARDE Mario Comensoli 1922 Lugano, 1993 Zurich Mario Comensoli, considered one of brothers and Poliakoff became his In that same year, Carlo Levi invited the most important figures of Realism new artistic referrals. him to exhibit his works at the Con- MARIO COMENSOLI Painting, was born in Lugano on the Establishing himself in Zurich with his gress of Immigrants in Rome on who- 15th April 1922. When his mother wife Hélène Frei, he grew a passion se poster one of the artist’s drawings died, he was raised by his two sisters for popular sports like cycling and appeared. in extreme poverty and this sensitised football and created the series titled He subsequently tackled the themes of the artist’s character and made him “Cyclists and footballers”. the Sessantotto (protest movement of aware of the social problems of the In 1953, the Helmhaus Museum of 1968) with a painting manner which poor from the very beginning. Zurich dedicated him the first impor- was provocative and influenced by In 1944, the Civic Museum of Fine tant exhibition which represented the Pop Art. He then took on the world Arts of Lugano acquired an oil pain- past period under the lights of the of cinema in 1978. In the 80s, starting ting after suggestion by Aldo Patoc- Lumiere Villas and which received the from alternative punk youths, he star- chi. On that same year, thanks to a approval of the critics. ted the series “Gioventù in fermento” scholarship, Comensoli went to Zu- This first creative phase, which was (Youth in Turmoil). To remember “Di- rich where he started attending dra- centred on formal construction, soon scovirus” and “Tell” amongst the most wing and history of art lessons at the left space for a new kind of painting important thematic moments. polytechnic institute. that was more aware of reality and His last big exhibition took place in In Paris, in the early post-war period, human experiences. 1989 at the Kunsthaus of Zurich. he observed Picasso and Léger’s work In 1958 he created the “Workers in Mario Comensoli died from a heart and was quite influenced by their Cu- Blue” in the Rousseaustrasse studio. attack in his studio in Zurich on the bist paintings. In 1948, on his second He dedicated it to the migrants co- 2nd of June, 1993. time in Paris, Mirò, the Giacometti ming from Italy to whom he felt close. AVANT-GARDE ART AVANT-GARDE Sold Sold MARIO COMENSOLI FUSSBALL 1950 BULL FIGHT SKETCH 1951 Pencil drawing, 225 x 310mm, signed with stamp of the Mario and Hélène Comensoli Pencil drawing, 325mm x 475mm, signed with stamp of the Mario and Hélène Comen- Foundation of Zurich Bibliography: Mario Comensoli “EINE NEUE SICHT TESTIMONIES” soli Foundation of Zurich AVANT-GARDE ART AVANT-GARDE FEMALE PROFILE PORTRAIT Sold EARLY 50s Oil on paper, 850mm x 650mm, signed on the lower part on the right MARIO COMENSOLI FEMALE PROFILE PORTRAIT EARLY 50s Ink and oil on paper, 850mm x 630mm, signed on the lower part on the right AVANT-GARDE ART AVANT-GARDE GESCHAEFTSMANN 1962 No longer available No longer available Tempera on carton, 900mm x 700mm, signed and dated on the lower part on the right Bibliography: Johann P. Scherer, “Begegnungen 62: Gemälde von MARIO COMENSOLI Mario Comensoli”, OPERAIO CON SIGARETTA 1965 Oil on canvas, 1300 mm x 900 mm Provenance: Mario e Hélène Comensoli, Zurich AVANT-GARDE ART AVANT-GARDE LA FAMIGLIA 1990 No longer available Mixed technique, 560 mm x 420 mm Provenance: Mario e Hélène Comensoli, Zurich MARIO COMENSOLI No longer available TONDO CON PUNK 1992 Oil Mixed technique on masonite, 530 mm x 440 mm Provenance: Mario e Hélène Comensoli, Zurich AVANT-GARDE ART AVANT-GARDE Alberto Giacometti 1901 Borgonovo di Stampa, 1966 Chur Alberto Giacometti, was born in His artistic expression thus oscillated Space, therefore, and its existential Val Bregaglia in Grisons from the between mnemonic reproduction meaning of emptiness, is transfor- GIACOMETTI ALBERTO union between Annetta Stampa and the purest expression of the med into artistic creation, in fun- and the Post-Impressionist painter, unconscious, space and its demar- damental element of Giacometti’s Giovanni Giacometti. Under his fa- cation, geometric and linear struc- work which, in the inapproacha- ther’s wishes, Alberto went to Paris tures, cages and sexual organs.In an bility of the object, corrodes and in 1922 where he studied sculptu- incessant dialectic between myth, the breaks the contours into clots of re at the Académie de la Grande unconscious, dream and reality, Gia- matter often devoid of colour. The Chaumière until 1925. cometti’s style found definition in the first ample retrospective presented Before he found his own direction, end in a sort of schematic naturism, in Switzerland was organised by the Alberto Giacometti was inspired in which objects, scenery and persons Kunsthalle of Bern in 1956. In 1962 by several cultural references in are immobile, isolated in an empty he was awarded at the Biennial of his life which ranged from Cicladic space which takes on all the existen- Venice and, in 1965, the Alberto Art, to Cubism, Surrealism and to tial meanings of solitude, of which Giacometti Foundation was set up. Primitivism. Sartre caught the inaccessibility. AVANT-GARDE ART AVANT-GARDE HOMME DEBOUT (LUST 101), 1957 Lithograph, 410mm x 282mm, on Arches paper, signed and numbered 15/100, published by Maeght, Paris ALBERTO GIACOMETTI ALBERTO NU ASSIS (LUST 53), 1965 Lithograph, 673mm x 535mm, on Rives paper, signed and numbered 17/100, published by Gemini Ltd. AVANT-GARDE ART AVANT-GARDE Renato Guttuso Sold 1911 Bagheria, 1987 Rome In 1957, Renato Guttuso stated: He was opposed to the official cul- “Painting is my work. That is, it is ture and was for the defence of GUTTUSO RENATO my work and also the way I con- freedom, denouncing the horrors front the world. I want to be pas- brought by oppression and war. sionate and simple, daring and not Guttuso expressed himself in va- extreme. I want to arrive to total rious ways, from book illustrations freedom in art, freedom which, like to painting of theatrical scenery, in life, consists of the truth”. from landscapes to still-lifes, from This wish drove the artist to a posi- portraits to erotic paintings. tion of decisive political belligeren- cy and for a search of the truth in which every academic standard was rejected. LOW RELIEF Low relief of art hot-melted and gold plated 330mm by 220mm, work 176/333 AVANT-GARDE ART AVANT-GARDE Hans Hartung 1904 Dresden, 1989 Antibes The Informal is a visual writing improvisation, the rejection of every chromatic and plastic qualities, not talents of European Informal art which puts “doing” before “theo- formal construction and the appeal just of the colours laid down with such as Soulages, Schneider, Bazai- HANS HARTUNG ry”, “existing” before “thinking”. It for the expressive properties of pic- the palette knife, hands or brush, ne. experiments, in the astonished lack torial and extra-pictorial materials. but also with materials such as In his works Hartung gave outmost of thought which follows the cata- Informal art can be taken back to cloth, cement, tar, plastic or wood.
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