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Agostino BonalumiRossoAcryl auf Fiberglas. 54,7 x 44,5 x 3,5 cm. In Plexiglaskasten. Rückseitig

In Contemporary Art I & II

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Agostino BonalumiRossoAcryl auf Fiberglas. 54,7 x 44,5 x 3,5 cm. In Plexiglaskasten. Rückseitig
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Agostino Bonalumi
Rosso

Acryl auf Fiberglas. 54,7 x 44,5 x 3,5 cm. In Plexiglaskasten. Rückseitig auf einer Holzleiste signiert und datiert 'Bonalumi 71 Febbraio' sowie mit einer Widmung. - Mit leichten Altersspuren.

Mit beiliegendem Photozertifikat des Archivio Bonalumi, Mailand. Die vorliegende Arbeit ist im Archivio Bonalumi, Mailand, registriert.

Provenienz
Privatsammlung, Italien

Agostino Bonalumi wird in vergleichbarer Weise wie Turi Simeti, Enrico Castellani oder Piero Manzoni um 1960 neue Möglichkeiten in der klassischen Tafelmalerei entwickeln und dazu beitragen, den Mythos in der italienischen Kunstszene der 1960er Jahre mitzuprägen.
Bonalumis Arbeiten sind stark von geometrischen Formen geprägt. Seine Leinwände sind Objekt-Malereien: Dreidimensionale Körper brechen die Oberfläche der Leinwände und expandieren in die dritte Dimension. Den ästhetischen Vorgang hierbei versteht der Künstler als etwas Prozesshaftes, in dem das von Malerei geprägte Leinwandbild aufgegeben wird und in den Status des Objekthaften wechselt.
Das Konzept der Ausstülpung führt zu einer Expansion der eigentlichen, wie hier im Ton leicht gebrochenen, in Nuancen differenzierten Farbflächenmalerei mit einer sehr einfachen, zentral angeordneten, scheibenförmigen, kissenartigen Form im Kontrast zum Rechteck der Tafel. Im 1971 ausgeführten „Rosso“ (positivo) gelingt es dem Künstler mit einer besonders eleganten Arbeit das oben genannte Prinzip seiner Poetik mehr denn je zu verdeutlichen: Der vom Licht geschaffene Effekt gestaltet die Oberfläche. Sie animiert nicht nur die rote Monochromie, der Lichteinfall beleuchtet die plane Fläche und ihre angehobene Struktur. Bonalumi sucht nach verschiedenen Lösungen, nach einer profunden Objekthaftigkeit, in Leinwand modellierte Varianten bis zu reinen plastischen Arbeiten, welche die Idee der erweiterten Tafelmalerei hinter sich lassen und die Gattung wechseln. Das angestrebte, nahezu skulptural in den Raum Dringende zu lösen und dabei sehr viel mehr Aspekte der Ausstülpungen zu finden, als etwa seine Mitstreiter Turi Simeti, Enrico Castellani oder Piero Manzoni. In den siebziger Jahren arbeitet Bonalumi vorwiegend in einer ausgeprägten Dreidimensionalität und verzichtet deshalb weitestgehend auf das malerische Element: Eine rein monochrom gefasste Leinwand bedeckt Holzelemente, die die Flächigkeit aufheben, die Erhöhungen oder Vertiefungen werden mit Hilfe von an der Rückseite angebrachten Drähten markiert. Anfangs Lucio Fontana und dem Informell nahestehend, verleiht der Künstler nunmehr dem Thema Oberfläche auf Grund kräftiger Reliefwirkung durch Lichteinfall beziehungsweise Absorption des Lichts eine neue Geltung und entwickelt sein Werk in objektiver Form als ein eigengesetzliches Gebilde.

Agostino Bonalumi
Rosso

Acrylic on fibreglass. 54.7 x 44.5 x 3.5 cm. In plexiglass box. Signed and dated 'Bonalumi 71 Febbraio' on a strip of wood verso and with dedication. - Minor traces of age.

With a photo certificate from Archivio Bonalumi, Milan. The present work is registered in Archivio Bonalumi, Milan.

Provenance
Private collection, Italy

Like Turi Simeti, Enrico Castellani or Piero Manzoni, Agostino Bonalumi would develop new possibilities in classical panel painting around 1960 and contribute to the myth in the Italian art scene of the 1960s.
Bonalumi's works are strongly determined by geometric forms. His canvases are object-paintings: three-dimensional bodies fracture the surface of the canvases and expand into the third dimension. The artist understands the aesthetic process here as something process-like in which the canvas picture, characterized by painting, is abandoned and changes into the status of the object-like.
The concept of the protrusion leads to an expansion of the actual, nuance-differentiated colour-surface painting, like the slightly broken tone here, with a very simple, centrally arranged, disc-shaped, cushion-like form in contrast to the rectangle of the panel. In the present, particularly elegant work “Rosso” (positivo) from 1971, the artist achieved more than ever to clarify the above-mentioned principle of his poetics: created by light, the effect shapes the surface. It not only animates the red monochrome, the incursion of light illuminates the flat surface and its raised structure. Bonalumi searches for various solutions, for a profound objectness, in variations modelled in canvas to works of pure plasticity which leave the idea of the extended panel painting behind and change its genre. To solve the great, almost sculptural, urgency, and thereby find many more aspects of the protrusions than his comrades Turi Simeti, Enrico Castellani or Piero Manzoni. In the 1970s, Bonalumi worked primarily in a pronounced three-dimensionality, largely renouncing the painterly element: a pure monochrome canvas conceals the wood elements, revokes the planarity, the peaks or troughs are marked with the help of wires attached to the back. Initially close to Lucio Fontana and Informel, the artist lends a new meaning to the theme of the surface due to its powerful relief effect through the incidence or absorption of light and develops his work in an objective form as an autonomous entity.
Agostino Bonalumi
Rosso

Acryl auf Fiberglas. 54,7 x 44,5 x 3,5 cm. In Plexiglaskasten. Rückseitig auf einer Holzleiste signiert und datiert 'Bonalumi 71 Febbraio' sowie mit einer Widmung. - Mit leichten Altersspuren.

Mit beiliegendem Photozertifikat des Archivio Bonalumi, Mailand. Die vorliegende Arbeit ist im Archivio Bonalumi, Mailand, registriert.

Provenienz
Privatsammlung, Italien

Agostino Bonalumi wird in vergleichbarer Weise wie Turi Simeti, Enrico Castellani oder Piero Manzoni um 1960 neue Möglichkeiten in der klassischen Tafelmalerei entwickeln und dazu beitragen, den Mythos in der italienischen Kunstszene der 1960er Jahre mitzuprägen.
Bonalumis Arbeiten sind stark von geometrischen Formen geprägt. Seine Leinwände sind Objekt-Malereien: Dreidimensionale Körper brechen die Oberfläche der Leinwände und expandieren in die dritte Dimension. Den ästhetischen Vorgang hierbei versteht der Künstler als etwas Prozesshaftes, in dem das von Malerei geprägte Leinwandbild aufgegeben wird und in den Status des Objekthaften wechselt.
Das Konzept der Ausstülpung führt zu einer Expansion der eigentlichen, wie hier im Ton leicht gebrochenen, in Nuancen differenzierten Farbflächenmalerei mit einer sehr einfachen, zentral angeordneten, scheibenförmigen, kissenartigen Form im Kontrast zum Rechteck der Tafel. Im 1971 ausgeführten „Rosso“ (positivo) gelingt es dem Künstler mit einer besonders eleganten Arbeit das oben genannte Prinzip seiner Poetik mehr denn je zu verdeutlichen: Der vom Licht geschaffene Effekt gestaltet die Oberfläche. Sie animiert nicht nur die rote Monochromie, der Lichteinfall beleuchtet die plane Fläche und ihre angehobene Struktur. Bonalumi sucht nach verschiedenen Lösungen, nach einer profunden Objekthaftigkeit, in Leinwand modellierte Varianten bis zu reinen plastischen Arbeiten, welche die Idee der erweiterten Tafelmalerei hinter sich lassen und die Gattung wechseln. Das angestrebte, nahezu skulptural in den Raum Dringende zu lösen und dabei sehr viel mehr Aspekte der Ausstülpungen zu finden, als etwa seine Mitstreiter Turi Simeti, Enrico Castellani oder Piero Manzoni. In den siebziger Jahren arbeitet Bonalumi vorwiegend in einer ausgeprägten Dreidimensionalität und verzichtet deshalb weitestgehend auf das malerische Element: Eine rein monochrom gefasste Leinwand bedeckt Holzelemente, die die Flächigkeit aufheben, die Erhöhungen oder Vertiefungen werden mit Hilfe von an der Rückseite angebrachten Drähten markiert. Anfangs Lucio Fontana und dem Informell nahestehend, verleiht der Künstler nunmehr dem Thema Oberfläche auf Grund kräftiger Reliefwirkung durch Lichteinfall beziehungsweise Absorption des Lichts eine neue Geltung und entwickelt sein Werk in objektiver Form als ein eigengesetzliches Gebilde.

Agostino Bonalumi
Rosso

Acrylic on fibreglass. 54.7 x 44.5 x 3.5 cm. In plexiglass box. Signed and dated 'Bonalumi 71 Febbraio' on a strip of wood verso and with dedication. - Minor traces of age.

With a photo certificate from Archivio Bonalumi, Milan. The present work is registered in Archivio Bonalumi, Milan.

Provenance
Private collection, Italy

Like Turi Simeti, Enrico Castellani or Piero Manzoni, Agostino Bonalumi would develop new possibilities in classical panel painting around 1960 and contribute to the myth in the Italian art scene of the 1960s.
Bonalumi's works are strongly determined by geometric forms. His canvases are object-paintings: three-dimensional bodies fracture the surface of the canvases and expand into the third dimension. The artist understands the aesthetic process here as something process-like in which the canvas picture, characterized by painting, is abandoned and changes into the status of the object-like.
The concept of the protrusion leads to an expansion of the actual, nuance-differentiated colour-surface painting, like the slightly broken tone here, with a very simple, centrally arranged, disc-shaped, cushion-like form in contrast to the rectangle of the panel. In the present, particularly elegant work “Rosso” (positivo) from 1971, the artist achieved more than ever to clarify the above-mentioned principle of his poetics: created by light, the effect shapes the surface. It not only animates the red monochrome, the incursion of light illuminates the flat surface and its raised structure. Bonalumi searches for various solutions, for a profound objectness, in variations modelled in canvas to works of pure plasticity which leave the idea of the extended panel painting behind and change its genre. To solve the great, almost sculptural, urgency, and thereby find many more aspects of the protrusions than his comrades Turi Simeti, Enrico Castellani or Piero Manzoni. In the 1970s, Bonalumi worked primarily in a pronounced three-dimensionality, largely renouncing the painterly element: a pure monochrome canvas conceals the wood elements, revokes the planarity, the peaks or troughs are marked with the help of wires attached to the back. Initially close to Lucio Fontana and Informel, the artist lends a new meaning to the theme of the surface due to its powerful relief effect through the incidence or absorption of light and develops his work in an objective form as an autonomous entity.

Contemporary Art I & II

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

3 % internet surcharge plus 19 % VAT

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

AGB

Conditions of Sale

1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
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Takuro Ito, Auctioneer

 

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