litografia - sygnowany - wielokrotność
|Tytuł dzieła:||Colazione da Joan|
|Rozmiar obrazu:||57,5×37,5 cm|
|Całkowite wymiary:||57,5×0×37,5 cm|
|Sprzedawany z ramą:||Nie|
‘Colazione da Joan’
Sheet size: 57.5x37.5 cm
Edition: 150 copies in Arabic numerals, LXXV copies in Roman numerals
Work signed and numbered by the artist.
Publisher: Il Gianicolo - Perugia
With certificate of guarantee.
Professional packaging and shipping via SDA express courier.
Bruno Donzelli was born in Naples on 12 April 1941.
At the age of 21 he participated in his first solo exhibition at the Galleria del Fiorino in Florence. In 1960 he participated in the Premio San Fedele in Milan, in the Premio Termoli and, in 1962, in the competition organised by the Ministry of Public Education.
In 1963 he held a solo exhibition at the Centro Arte gallery in Genoa. In the same year he was invited to the Premio Spoleto, to the Premio Marche in Ancona and to the Premio Michetti. In the following years he continued his rich season of solo exhibitions in the major Italian towns and in prestigious art galleries.
In 1984 he started the pictorial cycle of the “Siparietti Impertinenti”: this is the period of paintings like “Lontano dechirichiano” (1985), “Guantiera con babà” (1986), “Tavolozza del Novecento” (1987). Since 1989 he devoted himself to works on ceramic, making a series of multiples and some unique hand-painted works in Deruta and Perugia.
In 1991 he made the sets and costumes of “Folli notti a Pietroburgo”, directed by Gianfranco Evangelista, for the Teatro dell’Orologio in Rome, based on the “White Nights” book by Dostoevsky. In the following years he participated in solo exhibitions in the most important European towns, such as Paris, Geneva, Düsseldorf, Neuchâtel, Nice, Cologne, Basel, Munich and others.
In 1997 he presented his first monograph on the occasion of his solo exhibition at the Arte Borgogna gallery in Milan. He created the Buffetti calendar in 1999.
The most recent exhibition is that of 2012 at the PAN of Naples. Bruno Donzelli is “tipping point” of the 20th-century art, the crucial point. A century of avant-gardes is reflected in his works. In fifty years of research, the artist underwent a radical change of his language. He went through the signs, images, materials and colours of those who made the history of the 20th-century art. His works are a playful, joyful reportage inside an extraordinary phantasmagorical world, where only the “great” have the right to be. They are evidence of the exceptional nature of movements and masters. Donzelli, more than any historian and critic, marked a watershed in history at his discretion. Who’s there is there in his paintings and who’s not there is not there. And this is a final judgment. The masters of the 20th century live a new youth and a new identity “à la manière de Donzelli”, in a “reading” all within the mechanisms of painting. An artist like Donzelli is born, not made. Hence his uniqueness, his being peculiar. His bond and his relationship with the fertile land of Campania. Naples gives birth to Donzelli, raises him in the noise of the town, in the boldest colour combinations, in the most spectacular gestures. Bruno Donzelli was born in 1941. It’s a crucial moment in history, a turning point for the town. It is evident: there is a playful dimension in the work of Donzelli. And this is the thing that immediately jumps to the eyes. He commands a kind of jubilant, witty and at the same time a bit mischievous spirit. The mockery and the irreverent fantasy of the “commedia dell'arte” lurk in his painting. He makes a history of modern art which is based on the sign of irony. But game and mockery actually belong to the 20th-century art. On the other hand, the Dada was the first movement to assert these resources. If you look at the multitude of paintings, drawings, books, partitions, sculptures and creations in all possible areas made by the futurists, you must admit that humour is the key element behind the plethoric iconoclastic speeches of Filippo Tommaso Marinetti. Bruno Donzelli is part of a tradition that shows a niche in the history of Western art, a tradition still marginal and sometimes hidden. We must learn to look at the paintings of this artist beyond his themes, namely the names and characters of the old masters. We must consider his art as a conceptual diverted one. He is the archetype of the artist, who was able to take the big step today, remaining at an even distance from these two well separated aesthetic conceptions, with the exception of a few excellent experiences.
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