Čís. položky 205


Renato Birolli *


(Verona 1905–1959 Milan)
Il verde delle Cinque Terre, 1958, signed and dated 1958, signed, titled and dated on the reverse, oil on canvas, 112 x 145 cm, framed

Provenance:
Galleria Narciso, Turin
Galleria Mazzoleni, Turin
Christie’s Milan, 23 November 2010, lot 41
European Private Collection (acquired from the above)

Exhibited:
Berlin, Haus Am Waldsee, Renato Birolli, May 1959 Mannheim, Städtische Kunsthalle, 27 June - 26 July 1959 Braunschweig, Haus “salve Hospes” Kunstverein Braunschweig, July 1959 Darmstadt, Kunstverein Darmstadt, September 1959 Düsseldorf, Kunstverein für die Rheinlande und Westfalen, October 1959
Genoa, Palazzo Reale, Pittura di Renato Birolli, May - June 1967
Turin, Galleria d’Arte Narciso, L’ultima stagione di Renato Birolli, 10 April - 8 May 1969, exh. cat., no. 36 Milan, Palazzo Reale, I pittori italiani dopo il Novecento, 23 December 1969 – 4 January 1970, no. 12 with ill.
Ferrara, Palazzo dei Diamanti, Renato Birolli, 17 May - 30 July 1970 Mantua, galleria Civica d’Arte Moderna, Palazzo Te, 15 September - 25 October 1970
Milan, Palazzo della Permanente, Mostra di pittori e scultori che recitano a soggetto, March - May 1971, exh. cat., p. 24, no. 7 with ill.
Turin, Galleria d’Arte Narciso, Renato Birolli, 3 – 30 April 1976
La Spezia, Centro Allende, Renato Birolli, Le Cinqueterre, i disegni della Resistenza, July-October 1979 Manarola, Circolo Curiel Genoa, Accademia Linguistica di Belle Arti, exh. cat. with ill.
Turin, Galleria d’Arte Narciso, Due miti dell’arte astratta in Italia: Birolli, Spazzapan, 14 March - 4 April 1981
Milan, Palazzo Reale, Renato Birolli, 30 September -12 November 1989 Rome, Galleria Nazionale d’Arte Moderna, 14 December 1989 – 4 February 1990
Verona, Galleria d’Arte Moderna Palazzo Forti, Galleria dello Scudo, 23 February - 31 March 1990, cat. no. 82 with ill.
Mantua, B&B Galleria d’Arte Contemporanea, Renato Birolli Anni 50, April - May 1998, cat. no. XXIII with ill.
Sesto Fiorentino, Gruppo Gualdo, Renato Birolli,16 September - 14 October 2001; Mantua, Casa del Mantegna, 4 November 2001 – 9 December 2001, exh. cat. with ill.

Literature:
R. Birolli, M. Birolli, Z. Birolli, R. Sambonet, Renato Birolli, Feltrinelli, Milan 1978, p. 171 with col. ill., p. 320, n. 1958 10 with ill.

“Whoever develops an image cannot have just one reason, let’s say, tonal, like Morandi or Mafai. Painting is everything, even the absence of tone, even black and white: and it is form. This is the fundamental freedom. The rest follows. […] These people [the Parisian painters] create a new reality completely from colour – and in this I was right for many years in Italy to cry out that this was the way – rationally, voluntaristically just as, with very different proportions, the likes of Paolo Uccello and Piero [della Francesca] also created it.”
R. Birolli, 1 febbraio 1947, lettera ad Enrico Biragni

These are the words of Birolli during his stay in Paris, eleven years before he painted Il verde delle Cinque Terre. But in these words we can already find, in a nutshell, the essence of the poetics that Birolli would bring to fulfilment in the years following that dazzling visit to France.

This work of Birolli’s is directed at the relationship with colour – also the theoretical crux of the artist’s journey – which is understood as an active agent, as a material that is malleable and, in turn, formative, living.
The work belongs by right to the series inspired by the Cinque Terre, works held by critics and collectors to be among the most sophisticated and successful of his whole oeuvre, and which belong to what he himself defined as his “fifth season”, a period rich in stimuli inspired by Liguria’s astounding natural theatres.

In those extreme years, between ’57 and ’58, the palette is still tonal and the inner life of the harmonies is surprising, but the colour-light that they express is human and natural. Other paintings from the same period were reworked and refined by Birolli in order to completely exclude tactile meanings and to reach resolution through a painting that is purely of “marks” (strokes, spatula marks, splatters and drips), creating a phantasmagoria of light-colour, which nonetheless should not lose the bond and the relationship with its objective source.

The large size of the canvas allows the artist to take on his chromatic perceptions of reality in an organic way, making the painting into a grandiose and seething epitome of all the light-colours that he had used up until then. The palette explodes and breaks apart, turning the colours of the pictorial thread inside out, creating a mental image, an interior vision of the landscape that the artist is in dialogue with, one which is created out of colour itself.

“Searching for purple. I applied a thick layer of raw umber and I covered it with violet. It was like mould on a wall, a landscape of hidden meanings. Like a quest for understanding.”

These people [the Parisian painters] create a new reality completely from colour – and in this I was right for many years in Italy to cry out that this was the way – rationally, voluntaristically just as, with very different proportions, the likes of Paolo Uccello and Piero [della Francesca] also created it.”
R. Birolli, 1 febbraio 1947, lettera ad Enrico Biragni

16.05.2018 - 19:00

Dosažená cena: **
EUR 106.250,-
Odhadní cena:
EUR 75.000,- do EUR 110.000,-

Renato Birolli *


(Verona 1905–1959 Milan)
Il verde delle Cinque Terre, 1958, signed and dated 1958, signed, titled and dated on the reverse, oil on canvas, 112 x 145 cm, framed

Provenance:
Galleria Narciso, Turin
Galleria Mazzoleni, Turin
Christie’s Milan, 23 November 2010, lot 41
European Private Collection (acquired from the above)

Exhibited:
Berlin, Haus Am Waldsee, Renato Birolli, May 1959 Mannheim, Städtische Kunsthalle, 27 June - 26 July 1959 Braunschweig, Haus “salve Hospes” Kunstverein Braunschweig, July 1959 Darmstadt, Kunstverein Darmstadt, September 1959 Düsseldorf, Kunstverein für die Rheinlande und Westfalen, October 1959
Genoa, Palazzo Reale, Pittura di Renato Birolli, May - June 1967
Turin, Galleria d’Arte Narciso, L’ultima stagione di Renato Birolli, 10 April - 8 May 1969, exh. cat., no. 36 Milan, Palazzo Reale, I pittori italiani dopo il Novecento, 23 December 1969 – 4 January 1970, no. 12 with ill.
Ferrara, Palazzo dei Diamanti, Renato Birolli, 17 May - 30 July 1970 Mantua, galleria Civica d’Arte Moderna, Palazzo Te, 15 September - 25 October 1970
Milan, Palazzo della Permanente, Mostra di pittori e scultori che recitano a soggetto, March - May 1971, exh. cat., p. 24, no. 7 with ill.
Turin, Galleria d’Arte Narciso, Renato Birolli, 3 – 30 April 1976
La Spezia, Centro Allende, Renato Birolli, Le Cinqueterre, i disegni della Resistenza, July-October 1979 Manarola, Circolo Curiel Genoa, Accademia Linguistica di Belle Arti, exh. cat. with ill.
Turin, Galleria d’Arte Narciso, Due miti dell’arte astratta in Italia: Birolli, Spazzapan, 14 March - 4 April 1981
Milan, Palazzo Reale, Renato Birolli, 30 September -12 November 1989 Rome, Galleria Nazionale d’Arte Moderna, 14 December 1989 – 4 February 1990
Verona, Galleria d’Arte Moderna Palazzo Forti, Galleria dello Scudo, 23 February - 31 March 1990, cat. no. 82 with ill.
Mantua, B&B Galleria d’Arte Contemporanea, Renato Birolli Anni 50, April - May 1998, cat. no. XXIII with ill.
Sesto Fiorentino, Gruppo Gualdo, Renato Birolli,16 September - 14 October 2001; Mantua, Casa del Mantegna, 4 November 2001 – 9 December 2001, exh. cat. with ill.

Literature:
R. Birolli, M. Birolli, Z. Birolli, R. Sambonet, Renato Birolli, Feltrinelli, Milan 1978, p. 171 with col. ill., p. 320, n. 1958 10 with ill.

“Whoever develops an image cannot have just one reason, let’s say, tonal, like Morandi or Mafai. Painting is everything, even the absence of tone, even black and white: and it is form. This is the fundamental freedom. The rest follows. […] These people [the Parisian painters] create a new reality completely from colour – and in this I was right for many years in Italy to cry out that this was the way – rationally, voluntaristically just as, with very different proportions, the likes of Paolo Uccello and Piero [della Francesca] also created it.”
R. Birolli, 1 febbraio 1947, lettera ad Enrico Biragni

These are the words of Birolli during his stay in Paris, eleven years before he painted Il verde delle Cinque Terre. But in these words we can already find, in a nutshell, the essence of the poetics that Birolli would bring to fulfilment in the years following that dazzling visit to France.

This work of Birolli’s is directed at the relationship with colour – also the theoretical crux of the artist’s journey – which is understood as an active agent, as a material that is malleable and, in turn, formative, living.
The work belongs by right to the series inspired by the Cinque Terre, works held by critics and collectors to be among the most sophisticated and successful of his whole oeuvre, and which belong to what he himself defined as his “fifth season”, a period rich in stimuli inspired by Liguria’s astounding natural theatres.

In those extreme years, between ’57 and ’58, the palette is still tonal and the inner life of the harmonies is surprising, but the colour-light that they express is human and natural. Other paintings from the same period were reworked and refined by Birolli in order to completely exclude tactile meanings and to reach resolution through a painting that is purely of “marks” (strokes, spatula marks, splatters and drips), creating a phantasmagoria of light-colour, which nonetheless should not lose the bond and the relationship with its objective source.

The large size of the canvas allows the artist to take on his chromatic perceptions of reality in an organic way, making the painting into a grandiose and seething epitome of all the light-colours that he had used up until then. The palette explodes and breaks apart, turning the colours of the pictorial thread inside out, creating a mental image, an interior vision of the landscape that the artist is in dialogue with, one which is created out of colour itself.

“Searching for purple. I applied a thick layer of raw umber and I covered it with violet. It was like mould on a wall, a landscape of hidden meanings. Like a quest for understanding.”

These people [the Parisian painters] create a new reality completely from colour – and in this I was right for many years in Italy to cry out that this was the way – rationally, voluntaristically just as, with very different proportions, the likes of Paolo Uccello and Piero [della Francesca] also created it.”
R. Birolli, 1 febbraio 1947, lettera ad Enrico Biragni


Horká linka kupujících Po-Pá: 10.00 - 17.00
kundendienst@dorotheum.at

+43 1 515 60 200
Aukce: Současné umění I
Typ aukce: Salónní aukce
Datum: 16.05.2018 - 19:00
Místo konání aukce: Wien | Palais Dorotheum
Prohlídka: 05.05. - 16.05.2018


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