To Dream, to Collect


W La Libertà, 1975

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Artwork offered by

ArteA Gallery, Milan

Dated Titled Framed


44 x 43 x 53.5 cm
17.32 x 17 x 21.06 in








About the Artists

1926 Roma, Italy

Son of the poet Alberto Cavaliere and the Russian Jewish sculptress Fanny Kaufmann, he is one of the great masters of contemporary art of the second half of the 20th century. After a childhood partly conditioned by his father's antifascist activity and anti-Semitic laws, he studied at the Berchet High School in Milan and graduated at the Brera Academy, under the guidance of Manzù, Funi and Marino Marini, who took over the chair of sculpture.

His multifaceted and always renewed activity leads to several cycles of works that investigate and elaborate the relationship of man and artist with nature, with others, with the founding myths of existence and social life.

He began his exhibition activity with a group show in 1945, while his first solo show was held at the Galleria Colonna in Milan in 1951. After a first season of figurative realism, from 1957-58, the cycle of Forbidden Games was born, "a metaphor, as Elena Pontiggia writes in the Catalogue of sculptures, of the relationship between existence and nature, between instinct and thought, between reason and violence", and she began to deal with the theme of Metamorphosis, which would remain central in all her research. In 1960 he imposed the series of the Adventures of Gustavo B. (1961-64), "where sculpture becomes a plastic story in numerous episodes and realism is transformed into a surreal narrative" (ibid.). Since 1964, he has dedicated himself to exploring the theme of vegetation, inspired by Lucretius' De Rerum Natura. He participated several times at the Venice Biennale, together with others in the exhibition Italian Sculptors, in '56, and with a personal room in 1964 and 1972, when he presented one of his most significant works: I processi dalle storie inglese di W. Shakespeare, an extraordinary and grandiose installation (7mx10mx10m), currently the heritage of the Galleria d'Arte moderna di Valle Giulia in Rome. Since 1964, with the exhibition Arbres, the Schwarz Gallery has become his reference gallery. In 1970 he won the chair of sculpture at the Academy of Brera, taking over from Marino Marini, whose assistant he was; in the same year he created two environments: Apollo and Daphne and A and Z await love. Throughout the 1970s he developed and continued the Viva la libertà cycle. In 1971, together with the painter Emilio Scanavino, he created Omaggio all'America latina (Homage to Latin America) for the Sao Paulo Biennial in Brazil, although the work was not exhibited because of the explicit denunciation of the desaparecidos. In 1973 he presented the installation Surroundings at the 12th Art Biennale at the Middelheim Museum in Antwerp, an operation of total avant-garde on which he worked for over ten years. In 1975 he began his long association with Vincenzo Ferrari. In the Eighties he perpetuates the mode of large installations, creating the Percorsi, "of the labyrinths," writes the Artist, in which I can meet the eventual visitor/spectator and then get lost both of us inside the work itself. His are settings that, through intricate and elaborate labyrinths, propose the eternal and always new themes of making art: memory and time (La memoria, 1987; La traccia, 1986; I giardini della memoria, 1988-90, Il tempo, 1987), classical and modernity (Le leggi eterne dell'arte, 1993), the "true" and the "false" (The eternal laws of art, 1993). , the comparison between art and life (The Pygmalion, 1986-7). To remember, the great setting dedicated to Giordano Bruno (1989), the series of works on the theme of Orlando Furioso (1993-4), Passato, presente e... Pian Cordova, today at MART in Rovereto. His last great work, unfinished, is Grande albero, today exhibited in the cloister of the Conservatory of Milan. Artist refractory to any limitation and definition, has pursued in his work the search for new forms of expression, with a conceptually innovative use of the techniques of classical tradition as well as the avant-garde Dadaist, both reinterpreted in comparison with a ductile and modern plurality of materials.

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About the Gallery


Milan, Corso Buenos Aires 52

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