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Rudolf von Alt的《Ansicht der Strada Nuova gegen die Giardini Pubblici in Venedig》-Rudolf von Alt
Ansicht der Strada Nuova gegen die Giardini Pubblici in Venedig--Rudolf von Alt (奥地利, 1812-1905)
下载Rudolf von Alt的《Ansicht der Strada Nuova gegen die Giardini Pubblici in Venedig》大图
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乔瓦尼·巴蒂斯塔·西尔维斯特里的“新画廊计划”-Giovanni Battista Silvestri
Plan della nuova Galleria--Giovanni Battista Silvestri (意大利, 1796-1873)
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乔瓦尼·巴蒂斯塔·西尔维斯特里的“新画廊立面图”-Giovanni Battista Silvestri
Elevation della nuova Galleria--Giovanni Battista Silvestri (意大利, 1796-1873)
材质 : Engraving
图片文件尺寸 : 4859 x 3695 px
Matteo Gregorio de Rossi-Nuova pianta di Roma presente (Plan von Rom), 1680.
马泰奥·格雷戈里奥·德·罗西-罗马新工厂（罗马计划），1680年。
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亚伯拉罕·路易斯·鲁道夫·杜克罗斯《西西里岛海岸的珊瑚渔民》-Abraham-Louis-Rodolphe Ducros
Koraalvissers voor de kust van Sicilië ter hoogte van Terra Nuova--Abraham-Louis-Rodolphe Ducros (瑞士, 1748–1810)
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“弗利·特雷夫斯·米拉诺的诺登斯克约尔德教授对格陵兰岛的新探险-Flli Treves Milano
La nuova spedizione in Groenlandla del prof. Nordenskjold--Flli Treves Milano (意大利, 1861-1939)
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维克多·瓦萨里，当代艺术I-
Victor Vasarely * - Zeitgenössische Kunst I-
(Pecs, Hungary 1906–1997 Paris)
Positron, 1983–1989, signed; titled, dated and signed on the reverse, acrylic on canvas, 124 x 96 cm
This work was conceived in 1983 and executed in 1989
We are grateful to Pierre Vasarely, President of the Foundation Vasarely, universal legatee and moral right holder of Victor Vasarely, for his kind assistance with the cataloguing of this work.
Provenance:
Nuova Gissi, Turin
B. Collection, Brescia
Exhibited:
Turin, Victor Vasarely Dipinti 1951–1989, Galleria d’Arte Nuova Gissi, 12 October - 7 December 1990, exh. cat. no. 20 with ill.
Every form is a base for colour, every colour is the attribute of a form.
Victor Vasarely
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爱德华·哈里森·康普顿-
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(Feldafing 1881-1960) Bucht und Kathedrale S. M. Nuova in Monreale auf Sizilien, signiert E. Harrison Compton, Bleistift, Aquarell auf Papier, 42 x 61 cm, Passep., gerahmt, (BH)
图片文件像素：5930 x 4411 px
卡拉·阿卡尔迪，当代艺术I-
Carla Accardi * - Zeitgenössische Kunst I-
(Trapani 1924–2014 Rome)
Untitled, 1954, signed and dated; signed and dated again on the reverse, tempera (casein) on paper laid down on canvas, 68 x 32 cm, framed
This work is registered in the Archivio Accardi Sanfilippo, Rome and is accompanied by a photo certificate signed by the artist, Studio Accardi, Rome
Provenance:
Sale Nuova Brerarte, Milan, 11 December 1990, lot 71
European Private Collection (acquired from the above)
Note:
The paper was laid down on canvas directly by the artist as evident also from the signature and the date on the reverse.
Yes, 1954 was a critical year, but my first works featuring the sign, which I made on paper, were born in 1953. The meaning behind this choice, my surrender to the sign, which was basic at first and structural later, no doubt emerged from the idea artists have always had about contemporary art, about culture in their time.
Although I wasn’t studying mathematics or anthropology, Structuralism was a topical discovery all the same, something that exhisted in the Western world.
I bestowed an image on the Structuralist vision of the world; a visual image that bore all the components: events, the aggregation of signs were repeated in my paintings with phenomenic variations: but always faithful to themselves and repeatable.
Carla Accardi interviewed by Vanni Bramanti, in V. Bramanti, Conversazione con Carla Accardi, Rome 1982