Öl auf Leinwand - Signiert - einzigartige Arbeit - ohne Rahmen
|Titel des Kunstwerks:||Tavolozza Picasso|
|Technik:||Öl auf Leinwand|
|Verkauf mit Rahmen:||Nein|
OIL ON CANVAS.
ARTIST’S AUTHENTICATION ON PHOTO
Bruno Donzelli was born in Naples on 12 April 1941.
At the age of 21 he participated in his first solo exhibition at the Galleria del Fiorino in Florence. In 1960 he participated in the Premio San Fedele in Milan, in the Premio Termoli and in 1962 in the competition organised by the Ministry of Education.
In 1963 he held a solo exhibition at the gallery Centro Arte in Genoa, in the same year he was invited to the Premio Spoleto, the Premio Marche in Ancona, and the Premio Michetti. In the following years he continued his rich season of solo exhibitions in the major Italian cities and in prestigious art galleries.
In 1984 he started the cycle of paintings of the ‘Siparietti Impertinenti’: this is the period of paintings like ‘Lontano dechirichiano’ (1985), ‘Guantiera con babà’ (1986), ‘Tavolozza del Novecento’ (1987). From 1989 he devoted himself to works on ceramic, making a series of multiple works and some unique hand-painted works in Deruta and Perugia.
In 1991 he made the sets and costumes of ‘Folli notti a Pietroburgo’, directed by Gianfranco Evangelista, at the Teatro dell’Orologio in Rome, based on the book ‘White Nights’ by Dostoyevsky. In the following years he participated in solo exhibitions in the most important European towns, such as Paris, Geneva, Düsseldorf, Neuchâtel, Nice, Cologne, Basel, Munich and others.
In 1997 he presented his first monograph on the occasion of his solo exhibition at the Galleria Arte Borgogna in Milan. He made the Buffetti calendar in 1999.
The most recent exhibition is that of 2012 at the PAN of Naples. Bruno Donzelli is the ‘tipping point’ of the 20th-century art, the critical point. A century of avant-garde is reflected in his works. In fifty years of research, the artist underwent a radical change of his language. He went through the signs, images, materials and colours of those who made the history of the 20th-century art. His works are a playful, joyful reportage inside an extraordinary phantasmagorical world, where only the ‘great’ have the right to be. They are evidence of the exceptional nature of movements and masters. Donzelli, more than any historian and critic, marked a watershed in history at his discretion. Who’s there is there in his paintings and who’s not there is not there. And this is a final judgment. The masters of the 20th century live a new youth and a new identity ‘à la manière de Donzelli’, in a ‘reading’ all within the mechanisms of painting. An artist like Donzelli is born, not made. Hence his uniqueness, his being peculiar. His bond and his relationship with the fertile territory of Campania. Naples gives birth to Donzelli, raises him in the noise of the city, in the boldest colour combinations, in the most spectacular gestures. Bruno Donzelli was born in 1941. It’s a crucial moment in history, a turning point for the city. It is evident: there is a playful dimension in the work of Donzelli. And this is the thing that immediately jumps to the eyes. He commands a kind of jubilant, witty and at the same time a bit mischievous spirit. The mockery and the irreverent fantasy of the ‘commedia dell'arte’ lurk in his painting. He makes a history of modern art which is based on the sign of irony. But game and mockery actually belong to the 20th-century art. On the other hand, the Dada was the first movement to assert these resources. If you look at the multitude of paintings, drawings, books, partitions, sculptures and creations in all possible areas made by the futurists, you must admit that humour is the key element behind the plethoric iconoclastic speeches of Filippo Tommaso Marinetti. Bruno Donzelli is part of a tradition that shows a niche in the history of Western art, a tradition still marginal and sometimes hidden. We must learn to look at the paintings of this artist beyond his themes, namely the names and characters of the old masters. We must consider his art as a conceptual diverted one. He is the archetype of the artist, who was able to take the big step today, remaining at an even distance from these two well separated aesthetic conceptions, with the exception of a few excellent experiences.
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