(Trapani 1924–2014 Rome)
Biancobianco, 1966, signed Accardi 1966; signed, titled and dated Accardi 467 bis 1966, on the stretcher, varnish on sicofoil and canvas, 90 x 115 cm, in plexiglass case, (AR)

Photo certificate:
Galleria Fumagalli, Bergamo, Rome 1999, signed by the artist

Provenance:
Galleria d’arte Santo Ficara, Florence
Finarte Rome, 2 April 1996
Sotheby’s Milan, 2 December 1997
Galleria Fumagalli, Bergamo
European Private Collection

Literature:
Germano Celant, Carla Accardi, Charta, Milan 1999, pp. 306–307, no. 1966 25 with ill.
“I use plastic for its light, its ability to mingle, its fluid relationship with its surroundings: perhaps I do so in order to take away all totemic value from painting.“
(Carla Accardi)

In her sicofoil works, Accardi found what Fontana was proclaiming in his cut: a material that guarantees transparency and thus rejects frontal vision as the only possible view. By working with this material […] her painting became sculpture and she studied the relationship with the surrounding environment. […] So there is an ideal and tangible relationship between the color and transparency of Accardi and that of the front and beyond of Fontana. Both of them had the task, or possibly the destiny, of crossing a threshold, entering a transparent tent or a dark room, only to find that painting had definitively changed.
(Luca Beatrice, Accardi and Fontana in the Fifties and Sixties, in “Infinite Space. Carla Accardi and Lucio Fontana“, catalogue of the exhibition held at Sperone Westwater, New York, 2006)

“Art is something that is born out of passion, must remain personal and is made your own in silence“
(Carla Accardi)

Photo certificate:
Galleria Fumagalli, Bergamo, Rome 1999, signed by the artist

Provenance:
Galleria d’arte Santo Ficara, Florence
Finarte Rome, 2 April 1996
Sotheby’s Milan, 2 December 1997
Galleria Fumagalli, Bergamo
European Private Collection

Literature:
Germano Celant, Carla Accardi, Charta, Milan 1999, pp. 306–307, no. 1966 25 with ill.
“I use plastic for its light, its ability to mingle, its fluid relationship with its surroundings: perhaps I do so in order to take away all totemic value from painting.
(Carla Accardi)

In her sicofoil works, Accardi found what Fontana was proclaiming in his cut: a material that guarantees transparency and thus rejects frontal vision as the only possible view. By working with this material […] her painting became sculpture and she studied the relationship with the surrounding environment. […] So there is an ideal and tangible relationship between the color and transparency of Accardi and that of the front and beyond of Fontana. Both of them had the task, or possibly the destiny, of crossing a threshold, entering a transparent tent or a dark room, only to find that painting had definitively changed.
(Luca Beatrice, Accardi and Fontana in the Fifties and Sixties, in “Infinite Space. Carla Accardi and Lucio Fontana“, catalogue of the exhibition held at Sperone Westwater, New York, 2006)

“Art is something that is born out of passion, must remain personal and is made your own in silence“
(Carla Accardi)