Art

Contemporary

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30 cm 227 cm

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Art

Contemporary

Paintings, drawings, collages, silkscreens, lithographs, sculptures, posters of Italian and international artists: in this section all the works of Contemporary Art sold in our online catalog.

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Gianni Dova Contemporary Enamel On Canvas
ARARCO0093036

Gianni Dova Contemporary Enamel On Canvas

Spring Story 1961

ARARCO0093036

Gianni Dova Contemporary Enamel On Canvas

Spring Story 1961

Enamel engraved on canvas. Signed bottom left. Paper label with the title, date and the private origin of the piece on the back. Gianni Dova was born in Rome but grew up in Milan, he attended the Liceo Artistico of Brera from 1942, with a plan to move on to the Faculty of Architecture of the Politecnico. The war changed his projects, he met and spent time with the artist who met up in the literary cafés and had, amongst others, the newspaper edited by Ernesto Treccani, Corrente, as a reference point. Between them, there were Renato Guttuso, Emilio Vedova, Renato Birolli, Ennio Morlotti, Bruno Cassinari, Giuseppe Migneco and with them recognized the importance of the work of Pablo Picasso, going as far as signing the Realism manifesto "Beyond Guernica" in 1946. In 1947, he joined the Spacialist Movement with Lucio Fontana and many other Italian artists: Dova was one of the protagonists of this movement, which grew around the Galleria del Naviglio of Carlo Cardazzo and signed many of their manifestos. He later joined the movement of nuclear painting with Enrico Baj and Sergio Dangelo. Dova had exhibitions and was very successful both in Italy and abroad. He said of his painting:"Painting is just a way to understand reality. I know and understand the world through colour. I start from an abstraction to understand reality. I don't have fun while I paint: I care about being involved with the work and wait, on canvas, for the final moment". The piece is framed.

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Xavier Bueno
ARARCO0093034

Xavier Bueno

Girls

ARARCO0093034

Xavier Bueno

Girls

Oil on canvas cardboard. Signed lower left. After his childhood spent in Spain, his native country, Geneva and Paris, in 1940 Xavier Bueno moved to Italy, in Fiesole, where he joined with his brother Antonio, Pietro Annigoni and Gregorio Sciltian. to the group of "Modern Painters of Reality", whose manifesto proposed an "objective" observation of truth, of nature and its faithful reproduction as possible. The experience of the Spanish civil war first and then the Italian one increasingly directed the artist towards a realism linked to reasons of strong social content. 1953 represented an important turning point for Xavier's career: it was the year of his explicit adherence to the poetics of socialist realism, an adhesion that came after a personal itinerary that saw him practicing "committed" painting since the pre-war period, with a clear advance on art of the Italian left. Another fundamental stage in Xavier's career was the trip to Brazil in 1954: the artist returned from this experience full of enthusiasm and with a series of inks whose main protagonists are children, teenagers, laborers. From this moment on, the theme of childhood became more and more recurrent, little by little the characters were portrayed motionless, in a sort of unreal fog, devoid of even depth, of perspective rigor, in which they emerge as evoked. The work presented here belongs to this production. Between 1959 and 1964 Xavier created the cycle of "Children", suffering images and melancholy symbolic works of a humiliated and oppressed humanity, which the artist presented at the "España libre" exhibition. His technique also underwent an evolution, which led him to seek a thickening of the material, thickened by the addition of sand to the paint; the use of collage, already experimented by him in still lifes, became conspicuous also in the figurative-portraiture field. The material of his paintings became such as to come to define them "fresco on canvas". Work presented in frame.

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Xavier Bueno
SELECTED
SELECTED
ARARCO0093033

Xavier Bueno

Boy, 1966

ARARCO0093033

Xavier Bueno

Boy, 1966

Oil on canvas cardboard. Signed lower left. Further signature, date and title on the back. After his childhood spent in Spain, his native country, Geneva and Paris, in 1940 Xavier Bueno moved to Italy, in Fiesole, where he joined with his brother Antonio, Pietro Annigoni and Gregorio Sciltian. to the group of "Modern Painters of Reality", whose manifesto proposed an "objective" observation of truth, of nature and its faithful reproduction as possible. The experience of the Spanish civil war first and then the Italian one increasingly directed the artist towards a realism linked to reasons of strong social content. 1953 represented an important turning point for Xavier's career: it was the year of his explicit adherence to the poetics of socialist realism, an adhesion that came after a personal itinerary that saw him practicing "committed" painting since the pre-war period, with a clear advance on art of the Italian left. Another fundamental stage in Xavier's career was the trip to Brazil in 1954: the artist returned from this experience full of enthusiasm and with a series of inks whose main protagonists are children, teenagers, laborers. From this moment on, the theme of childhood became more and more recurrent, little by little the characters were portrayed motionless, in a sort of unreal fog, devoid of even depth, of perspective rigor, in which they emerge as evoked. The work presented here belongs to this production. Between 1959 and 1964 Xavier created the cycle of "Children", suffering images and melancholy symbolic works of a humiliated and oppressed humanity, which the artist presented at the "España libre" exhibition. His technique also underwent an evolution, which led him to seek a thickening of the material, thickened by the addition of sand to the paint; the use of collage, already experimented by him in still lifes, became conspicuous also in the figurative-portraiture field. The material of his paintings became such as to come to define them "fresco on canvas". Work presented in frame.

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Luigi Rocca Contemporary Acrylic On Canvas 20th Century
ARARNO0091233

Luigi Rocca Contemporary Acrylic On Canvas 20th Century

Harley-Davidson 1988

ARARNO0091233

Luigi Rocca Contemporary Acrylic On Canvas 20th Century

Harley-Davidson 1988

Acrylic on canvas. Signed bottom left. Additional signature on the back to authenticate, with title (the initials HD), date and location (Turin). There is also a cartouche and stamps from the Art Gallery of Portofino. Originally from Udine, he moved early to Turin, where he completed his studies, Luigi Rocca started to be recognized as a sixteen-year-old student, with town and regional exhibitions, when he favoured the figurative subject, but he was also fascinated by landscapes. Rocca was a follower of hyperrealism, which aims at an objective representation of reality, and, fascinated by the United States, he dedicated to this Country a large part of his production, painting views of big cities, New York in particular, from the large roads to the small corners of "foreign" neighbourhoods with style and an almost photographic result. His "portraits" of luxury cars and motorcycles are also peculiar. The artist paints them with a crude realism that leaves nothing to his emotional participation: like in the piece here proposed, he makes a thorough investigation of the qualities of materials and light effects, recording all the reflexes evoked by the light falling on the car body. In 1998, he participated in the Art Expo of New York; he participated in many Italian and international shows and exhibitions. Since 1996, Rocca went back to living in Venice and displays his paintings in his reference Gallery, Melori & Rosenberg, in Campo del Ghetto Nuovo. Since October 2007, his pieces - both originals and canvas reproductions - are permanently on display in New York at the Arnot Galleries, 57th Street. Framed piece.

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600.00€

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Maurizio Bottarelli Acrylic On Canvas 20th Century
ARARCO0088305

Maurizio Bottarelli Acrylic On Canvas 20th Century

Untitled 1973

ARARCO0088305

Maurizio Bottarelli Acrylic On Canvas 20th Century

Untitled 1973

Acrylic on canvas. Signature, date 1973, technique and place of execution (Bologna) on the back. There is also a partial label from the Cultural Association of Art of Milan. Born in Fidenza (Parma) and artistically trained at the Accademia di Belle Arti of Bologna, Maurizio Bottarelli has travelled a lot abroad (London, United States, Austria, Australia,...), looking for inspiration for his work in the place he visited. His language is peculiar for the never ending dialogue, that crosses through all of his production, between the two main character elements of the canvases, the matter and the colour, based on experimentation, the search, the stratification of matter - pigments, paper, glue, paint, solvent - that were all made possible by his exceptional technical ability. His landscapes, inspired initially by his travels, are more and more projected towards abstraction, until they disregard any reference to real locations. Just like his portraits of human figures (the "heads"), they are representations that could be defined as universal of humankind and the human condition, that are investigated in the marked, suffering faces, contracted in a grimace of fear or pain, as a true "topography of pain". All of his production is presented in more than a hundred exhibits in Italy and abroad; he participated in all the most important collective and thematic exhibitions that document contemporary art in Italy from the sixties till now.

Rent

275.00€

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Painting by Arman 10000 Cendrillons 2003
SELECTED
SELECTED
ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

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No Title by Arman Jeté 2003
SELECTED
SELECTED
ARTCON0000755

No Title by Arman Jeté 2003

Jeté

ARTCON0000755

No Title by Arman Jeté 2003

Jeté

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

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