Contemporary Drawing Emanuele Luzzati Odalisque 1988 - Odalisque 1988

Gilded bronze bas-reliefs. Signed lower right; number of specimen 25/150 bottom left. The triptych is accompanied by a certification of authenticity from the Seledi Arte Center in Milan. The titles of the three bas-reliefs are shown in the authentication: Fortune, Stallion Fight, The Couple. Francesco Messina's sculpture, so full of echoes of the classical Greco-Roman and Hellenistic heritage,"is characterized", wrote Carlo Carrà, "a simple and great style" and by an "idealistic and classical procedure"capable of give life to forms that remain as "ideal images". The three bronze panels are mounted in a single frame.

Glimpse of the Country with Figures

Oil on wooden panel. Signed lower left. Vittore Antonio Cargnel, father of Lucio Cargnel, was mainly a landscape painter, author in particular of evocative views of Treviso and exciting glimpses of Friuli, his homeland. He is considered the spokesperson of intimate landscape painting, for his ability to freeze landscapes in the immediacy of atmospheric changes, often on small panels, so as not to miss the moment of a particular luministic condition responsible for the impression aroused in the artist. In this part of the town, the luminous contrast stands out between the square still dominated by the gray rain, highlighted by the umbrellas of passers-by - figures that are only indistinct spots, neutral elements of the landscape - and the light which, cutting through the clouds, illuminates and colours. the top of the buildings. The painting is presented in a contemporary frame.

Saint George 1992

Oil on panel. Signed bottom right. On the back, with Cyrillic characters, there is the title, the date and the location, Bergamo. The Lithuanian artist, who currently lives and works between Moscow, Italy and the United Kingdom, is considered one of the most important contemporary Russian artists. In his large production there are landscapes, still lifes, many portraits of famous people and his surreal compositions, an expression of his peculiar "dream vision" of reality. Even in this table, albeit in the style of traditional icons, the depiction of the famous St. George is proposed in a surreal key that reminds of De Chirico, in which the dragon is replaced by a goose, the Saint's head is an egg, in the outlines there are figures of sorceresses... a clearly unorthodox interpretation! The panel has a vertical slit. The piece is presented in a frame.

Plato and Aristotle

Mixed media on canvas. Signature, title, date and dedication on the reverse. Paolo Baratella, a recently deceased artist from Ferrara, developed his art by composing vast pictorial cycles inspired by contemporary subjects; we therefore have series of works by him gathered under significant titles. From the mid-1980s and into the 2000s, his scenographic apparatuses became more enriched with cultural, pictorial and literal iconographic references. In particular, Baratella pays greater attention to the iconography of art, philosophy and history. In this work the artist presents the portraits of the two great Greek philosophers (taken from their traditional classical depictions) and shades them in a frame of pink-blue colours. The two individual canvases are placed side by side inside a worked wooden frame, on whose two horizontal crosspieces the words "Timaeus" a work written by Plato, and "Ethics", a recurring theme of Aristotelian philosophy, are engraved.

Female Figure 1993

Polychrome bronze sculpture on stone base. Signature and date on the base. Guido Lodigiani, a Milanese sculptor who is still active and a passionate teacher at the Brera Academy, said of his art: " believe that the artist is called to show the root of human experience and in this way to excite again". And the root of existence, its womb, is the woman, whom Lodigiani considers the Woman of the Announcement, an expression of the restless and intimate tension towards the mystery of creation. Lodigiani's sculpture extracts form, as if from a mother's womb, starting from an original nucleus of matter in which it excavates voids and tensions. This plastic tension is well expressed in this naked female figure, seated but twisted, as if she had just emerged from indistinct matter and tended upwards, towards life, towards the light.

Girl in armchair

Terracotta sculpture. Signed lower right. Marco Cornini, a Milanese artist trained at the Brera Academy, works mainly with terracotta, with which he creates human figures, both male and female, men and women, or better yet boys and girls of more or less the same generation, in moments of their intimacy, often as a couple but also individually, with sentimental, erotic and passionate values. Here we see a naked woman sitting in an armchair in a room, in an attitude of intimate desperation.

Untitled 1958

Oil on canvas. Signed and dated lower right. The work of strong emotional impact proposes an almost monochromatic purple background, in which a few black and white strokes are inserted to define a silhouette curled up on the left, perhaps a human form, collected and closed in on itself. Born in 1934 in Viareggio, where he still lives, the painter and sculptor Mario Francesconi is considered one of the few survivors of Dadaism, which since the end of the 1950s has gone through the seasons of Italian and European art in a distinctly personal search for forms and techniques. Starting from his first solo show in 1959 he develops an artistic path that goes through different phases, often attributable to a passion for poor and recycled materials. His artistic activity moves between the areas of painting, sculpture, collage and installation and borders on the adjacent areas of poetry and literature, also thanks to friendships and professional relationships with some of the most significant figures of the intellectual world. Italian of the second half of the last century, from Emilio Villa to Cesare Garboli, from Leonardo Sciascia to Mario Luzi, from Cesare Zavattini to Pier Paolo Pasolini, from Alfonso Gatto to Sandro Penna to Venturino Venturi. The work is presented in a frame.

Tableau doré

Mixed technique on plywood (painting and silver paper sheets). On the back, authentic with stamp and signature of the artist's sister. The work belongs to the series of Tableaux dorés, works created by the Milanese artist Remo Bianco starting from the 1950s. Born and educated in Milan, Remo Bianco was a pupil of De Pisis, in whose studio he frequented the great Italian artists of the twentieth century (Carrà, Sironi, Savinio, Soffici, Soldati, Marini, Cantatore). After the interlude of the war (enlisted, sank with his ship and was taken prisoner in Tunis), he resumed his artistic activity in Milan, participating in the Nuclear Movement and Spatialism, coming to completely detach himself from figurative painting to create works made of brushstrokes mashed potato. At the beginning of the fifties he began to create works, pictorial and sculptural, with different materials and to experiment with different themes and techniques; to this production belong the Tableaux dorés, composed of silvered or gilded aluminum foils on painted bases. The work is presented in a frame.

Bas-relief

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

Oil on Hardboard. On the reverse there is an inscription in pencil with the date "29 June 1931" and the signature Amos Campaioli. The large country landscape, with leafy trees and a pond, sees in the foreground a lady on horseback flanked by a man with his dogs. The painting is presented in a wooden frame, covered on the front with gilded stucco.

Oil painting on canvas. The composition looks at the productions of the 17th century and offers a table richly laden with fruit trays, baskets of cherries, baskets with peaches and bunches of grapes with decorative vine leaves, terrines with seeds, and glasses, surmounted by a curtain and placed on a fabric. Color was used in a highly material manner in some points, to underline for example the stems of grape leaves, or to create reflections of light on the fruit. The painting presented in a style frame.

Ecija

Oil painting on canvas. Signature and location bottom left. The Spanish painter José Pedraza Ostos dedicated himself mainly to landscape painting, created with an impressionist imprint, and which mainly portrayed glimpses and views of the places in Andalusia he inhabited. Here is a glimpse of the riverside part of the Andalusian town of Ecija, characterized by numerous water mills. The painting is presented in a late 19th century frame.