Silkscreen/Serigraph - Signed - 54/199 - without frame
|Title of artwork:||Il Codice Botero|
|Total dimensions (H/ W/ D in cm):||CM. 25x25|
|Sold with frame:||without frame|
Biography of Bruno Donzelli
Bruno Donzelli was born on April 12, 1941 in Naples.
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 created by the Ministry of education.
In 1963 he held a solo exhibition at the Galleria Centro Arte in Genoa, in the same year he was invited to the Premio Spoleto, the Premio Marche in Ancona, and the Premio Michetti. In the following years he continued his rich season of solo exhibitions in major cities and in prestigious art galleries.
In 1984 he started the cycle of paintings of Siparietti impertinenti: this is the time of Lontano dechirichiano’ (1985), ‘Guantiera con babà’ (1986), ‘Tavolozza del Novecento’ (1987).
From 199 he dedicated himself to pottery making, in Deruta and Perugia, a series of multiples and some single hand painted works.
In 1991 he made the scenery and costumes for ‘Folli notti a Pietroburgo' directed by Gianfranco Evangelista at the Teatro dell’Orologio in Rome, based on the book ‘Le notti bianche’ by Dostoijevskij.
In the following years he participated in solo exhibitions in major European cities such as Paris, Geneva, Dusseldorf, Cologne, Basel, Nuchàtel, Nice, Monaco and others.
He presented his first monograph on the on of his solo exhibition in 1997 at the Galleria Arte Borgogna in Milan. He made the Buffetti calendar in 1999.
The latest exhibition is that of 2012 at PAN in Naples. Bruno Donzelli is the "tipping point" of twentieth century art, its critical point.
A century of avant-garde is reflected in his works.
In fifty years of research the artist, reinventing himself in the language, crossed the signs, images, materials and colours of those who have made the history of 20th century art.
His works are a playful and joyful reportage inside an extraordinary and phantasmagoric world, testifying to the exceptional nature of the movements and masters, where only the '' great '' have the right of residence.
Donzelli, more than any historian or critic, traces a distinctive mark in history.
Who’s there is there in his paintings and who’s not there is not there. And it is a judgment without appeal. The masters of the twentieth century live “à la manière de Donzelli’’, a new youth and a new identity, in a reading that is one with the mechanisms of painting.
Donzelli is born, not made. Hence his uniqueness, his being singular.
His tie and his relationship with a fertile territory, that of Campania.
Naples gives birth to Donzelli, raises him in the hubbub of the city, in the boldest colour combinations, in the most spectacular gesture.
It's 1941 when Bruno Donzelli was born.
It's a crucial historical moment, a turning point for the city.
It is evident: there is a ludic dimension in the work of Donzelli.
And that is just the thing that immediately catches the eye.
He commands a kind of jubilant, facetious and at the same time a bit cheeky spirit.
The mockery and irreverent fantasy of commedia dell'arte lurk in his painting. He makes a story of modern art which is based on the sign of irony.
But game and derision, belong indeed to 20th century art.
The Dada was the first movement to lay claim to these resources.
If one looks at the multitude of paintings, drawings, books, partitions, sculptures and creations in all possible areas made by futurists, one must admit that humour is the key element behind bloated and iconoclast 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.
His art must be considered like diverted conceptual art .
He is the archetype of the artist, which today has been able to take the leap, keeping himself in an area of equidistance from these two well separated aesthetic conceptions, with the exception of a few excellent experiences.
|Member since:||January 3, 2018|
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