Study, 1975

Studio per Affresco 1965

Mixed media on paper. Below are the signature, date and title. It is a tribute to the great Polish entrepreneur, founder of the homonymous cosmetic house Helena Rubinstein, made in the year of her death. Giorgio Bellandi, born in Milan in 1931, was a very talented set painter. Passionate about art from a very young age, he attended the Brera Academy and became an active part of the Milanese artistic environment of those years. Bellandi worked as a set designer at the Teatro alla Scala in Milan and made his debut as a painter in the 1950s by joining the existential realism, a very active artistic movement in Milan in the second half of the 1950s, becoming one of the exponents of this current. Existential Realism was originally based on the search for something different, an alternative both to informal painting and to the effects of existentialism, especially political, which had taken hold due to the damage caused by World War II. Ideologically these artists had in common the refusal towards authoritarianisms and towards social and political conformisms, in an environment oriented overall to the left. Bellandi is an artist gifted with talent and creativity, a lover of freedom of expression and beauty, and performs works of interesting reading with intense but harmonious chromatic tones. Passionate about Lake Como, he often came to the Lario in search of relaxation and inspiration. In '64 he participated in the Venice Biennale and in '65 he was invited to the IX Quadriennale in Rome. Very active painter, he realizes many exhibitions in national and international territory, until his illness which unfortunately was fatal to him, in 1976. The work is presented in a frame.

Print on paper. Rare anti-racist poster which, as indicated below, was published as a supplement to the magazine "MAI" of June '68, in the series "I manifesti di MAI di Giò" (Giorgio Tavaglione). It is a manifesto of the beat movements that spread in Italy in the years 1967-1968: thanks to the use of the mimeograph, which allowed the printing of numerous flyers, posters, poetic anthologies, small plaquettes and especially magazines, the young beatniks they created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. Work in frame.

Untitled 1964

Mixed media on paper. Signed and dated on the left. The work belongs to the 1960s production of Amilcare Rambelli, a period in which the Milanese artist, painter, illustrator but above all sculptor, turns his production towards the outside, in search of an involvement of the environmental space in the relationship between elements of organic systems and structures of mechanical systems: a design sequence is born that preludes in his sculptures to complex polymaterial assemblages in which steel, copper, bronze, aluminum, Plexiglas, drawing fragments and films find unprecedented balances. These are works that tend towards a geometric setting, technically innovative and suggestive, which attack the space in every direction with intense dynamism, testifying the search for a consonance between the artist and his own time. In the paintings of this period, to which the work presented here also belongs, Rambelli transposes on paper or canvas the same projects made as a sculptor. The work is framed.

Poster printed in Cologno Monzese in 1967, in a limited edition of 500 copies. This is copy no. 7/500, enhanced by the dedication and autograph signature of the graphic designer Giorgio Tavaglione, author of the poster. It is the first manifesto of the beat movement and of the Italian underground culture, promoted in Milan since 1966. On that date, the magazine "Mondo Beat" was born, with director Melchiorre Gerbino, inspired by the pacifist protest movements of the Dutch PROVO, and close to the movements Italian anarchists. The young beatniks created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. The work is framed.

Pair of Ink Drawings

Ink on paper. One of the two is signed on the lower right. The works of the Russian artist Vyacheslav Sawich Mikhailov are exhibited in prestigious museums such as the Tretyakov Gallery or the Museum of Modern Art in Moscow, the National Museum of Russian Art, the Museum of Nonconformist Art in St. Petersburg. Considered an expressionist author, he creates scenes of intense drama with different techniques. The design proposed here is part of a series of scenes full of dramatically intertwined figures in contortions of the body, with allegorical elements and patches of often red color, evoking blood. In frame.

Untitled 1999

Mixed media on wood. Signed and dated on the back. Born in Magenta, Giovanni Sesia does not define himself as a painter or even a sculptor or photographer, but an "artist". He attended the Brera Academy in Milan and approached painting with paintings with a strong sign and bright colors. After an initial artistic research in abstractionism and the discovery of photography as a technical means to combine with pictorial expressiveness, at the end of the nineties Giovanni Sesia discovers an entire photographic archive of an abandoned psychiatric hospital: fascinated by old photographs, which portray faces and forgotten places, the artist enlarges and re-elaborates them by superimposing backgrounds, pictorial retouches and calligraphic inserts, investigating the theme of madness and bringing to light existences marked by pain and disease, to subtract them from the passage of time and oblivion. The sense of tradition, the warm colors of the earth, browns, ocher and rust, like the writings made with an almost illegible handwriting, become the personal and unmistakable traits even in the works that represent different themes, such as domestic objects, the landscapes, the city, all with a common matrix, the human being and the value of memory. The work is framed.

The Fall of St. Paul 2003

Acrylic on canvas. Signed and dated lower right. On the back: further signature of the artist with the technical data of the work, certificate of authenticity of the work signed by the artist, his autograph dedication to a friend priest and autograph description of the work data. Also attached is a brochure of the painter's personal exhibition, with several "Homages" to painters of antiquity, including this work. The recurring motif of these works is the horse, which in the production of the Parmesan artist Roberta Musi is a recurring theme in a sweetly obsessive way, which has led her to retrace the historical / artistic iconography linked to this animal backwards: he has taken up the works of Vitale da Bologna and Paolo Uccello, Cosmé Tura and Delacroix, or of the Parmigianino proposed here, reinterpreting them with wide margins of freedom and introducing deep breaths of vitality into them. In particular, this work pays homage to the homonymous painting by Parmigianino, made in 1527 and kept in the Kunsthistorisches Museum in Vienna. The work is presented in a frame.

Sculpture - volume

Volume sculpture in bas-relief, consisting of rings and other metal shapes mounted on a metal panel. In frame.

Panel in copper and brass, worked with irregular geometric figures. Mounted on a white lacquered wooden panel. Inspired by the works of the sculptor and painter Lino Bersani (Genoa 1935).

Bas-relief

Bas-relief in wood, fabric and white tempera, evoking a stylized Crucifix. Mounted on a panel and presented in a display case.

Bas-relief sculpture, with metal wires, aluminum globe and lamp holder mounted in the shape of a butterfly on a glossy black plastic panel. On the back label of Studio EF, TOp model, Made in Italy.

Burnished and worked copper plate, with decorations in lighter spots, overhangs and holes, mounted on a red-stained plywood panel.