sitodruk - sygnowany - wielokrotność - 2019
|Tytuł dzieła:||senza titolo|
|Rozmiar obrazu:||54×79 cm|
|Całkowite wymiary:||54×0,2×79 cm|
|Sprzedawany z ramą:||Nie|
Serigraph with 11 colour transitions on 300 g cotton paper.
Cm 54 x 79.
Work signed and numbered by the artist.
Edition: Galleria d'arte La Riva - 2G ARTE.
Certificate of guarantee and embossed stamp of the publisher.
Professional packaging and shipping via SDA express courier.
She was born in Rome in 1932 from Mario Fioroni, sculptor, and Francesca Barbanti, painter and puppeteer. She was a student of Giuseppe Capogrossi at the art school. In 1950, at the Academy of Fine Arts, she attended Toti Scialoja’s courses. She met Burri and Basaldella. She married Ippolito Nievo. She held exhibitions in Rome at the VII Art Quadrennial. From 1956 she completely devoted herself to painting. She participated in the XXVIII Venice Biennale. She met Achille Perilli, Piero Dorazio and Gastone Novelli. She started going to the gallery La Tartaruga in 1957. At the end of 1958 Giosetta Fioroni went to live in Paris. She exhibited at the Galerie Paul Fachetti. From 1961 to 1965 she was very active and there were many exhibitions in several European towns. In 1964 she met the writer Goffredo Parise, her future life companion. In the 1960s she created the series of works called Argenti: female faces made with enamels and industrial paint. She participated in the “Scuola di Piazza del Popolo” with Angeli, Schifano and Festa. In the early 1970s Giosetta Fioroni made Teatrini and Case Teatrini, unique items made of a wooden box, with different lenses inserted. Inside you could see stuck time, immobilised worlds, suggestions of dreams or nightmares or latent dreams. In the late 1970s Giosetta Fioroni made watercolours recalling the elements of fairy tales, referring to spaces that formed and fell to pieces, and that are far away. From the 1980s until today, Giosetta Fioroni devoted herself mainly to painting, to the discovery of traditional artistic materials and techniques, without abandoning the excessive refinement the and stylised figures. In 1993 in Faenza she began to work with ceramics, creating a series of works. In 1998 Giosetta Fioroni made a wall with 100 trees, each one evoking dreams, moments of reality, events, emotions and adventures.
A poetic, feminine, somewhat visionary nature, openly linked to the world of childhood, together with a cultured elaboration of the aesthetic experiences of the 20th century, are the core of Giosetta Fioroni’s work. Delicate and untiring, sophisticated and ironic, the artist went through the 1960s fully living the new avant-garde (committed to reconsider the thought itself on art) with young artists gathered in Rome around some smart gallery owners and critics. In 1964, in fact, together with Franco Angeli, Tano Festa and Mario Schifano, her companions in life and career, Giosetta made an exhibition at the Gallery “La Tartaruga” of Plinio De Martiis, important and essential figure in that Roman period. These paintings are the result of a special attention to the urban environment, from the poetic evaluation of the images linked to contemporary reality, to the day and night life of a city. At that time, American Pop Art triumphed all over the world. The 1964 Venice Biennale itself was dedicated to great overseas artists such as Andy Warhol, Robert Rauschenberg, James Rosenquist and many others. Since then there was an intense debate on the influence that American Pop Art had on this group of Roman artists whose work was defined, in some way, Pop Art or Italian Pop Art, a definition corrected by Giosetta Fioroni who preferred to talk about the “School of Piazza del Popolo”. From the beginning, in fact, the differences on the two Pop currents were very precise. It is certainly true that his silver drawings of that period, outlined on the matte white of the canvas, were essential imprints of faces, items and gestures that seemed to emerge from a fleeting visual impression of urban life, and that, similarly, the starting point for a painting was often a photo or a press-cutting projected on the canvas, but her aluminium images were then painted in the “amanuensis” way, with the artisanal sympathy that the use of brush implied unlike the industrial detachment of American artists. Giosetta established an “emotional” relationship with painting and silver itself had very European meanings to her.
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