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Interno

Single piece Signed Dated Titled

Reference

b08707bc

Year

1961

Medium

Paintings

Size

74 x 116 cm
29.13 x 46 in

Make a request for Interno available on fair


  • About the work

Oil on canvas

1957
Roberto Sanesi, Introduzione al catalogo, Galleria Totti, Milano
1958
Giorgio Kaisserlian, Introduzione al catalogo, Centro San Fedele, Milano
Enrico Crispolti, Aujourd’hui n. 20, dicembre, Parigi, “La quatrième génération”
Emilio Tadini, Introduzione al catalogo, Galleria Pater, Milano
1960
Giorgio Kaisserlian, Introduzione al catalogo, Galleria del Cavallino, Venezia
Marco Nozza, “L’Europeo”, 20 Novembre, Milano
Giorgio Kaisserlian, Notiziario n. 11, “Ultime tendenze” per la Galleria II Grattacielo, Milano
Illustrazione della copertina di “Sens plastique” n. 13, Parigi
1961
Luce Hoctin. “L’Oeil” n. 73, Parigi, “La jeune peinture”
1962
Emilio Tadini, Introduzione al catalogo, Galleria del Naviglio, Milano
Dino Buzzati, “Rassegna” n. 5 maggio, Milano
Mario Raciti, “Arte Sintesi”, giugno, Roma
Marco Nozza, “L’Europeo”, 18 giugno, Milano
Marco Valsecchi, “Il Giorno”, maggio, Milano
Gualtiero Schönberg, “Art International”, n. 7, Lugano, “Les expositlon 1 Milan”
Camillo Broggi, “II Corriere Lombardo”, 19 maggio, Milano
Dino Buzzati, “Corriere della Sera”, 13 dicembre, Milano
Renato Barilli, Enrico Crispolti, Emillo Tadini, “Edizioni Alfa”, Bologna, “Nuove prospettive della
pittura italiana”
1963
Giorgio Mascherpa, “Gente”, 15 febbraio, Milano
Jean Dypreau, “Quadrum” n. 14, Bruxelles
Enrico Crispolti, Introduzione al catalogo, Galleria Il Punto, Torino
1964
Enzo Fabiani, “Gente”, 19 marzo, Milano
1965
Michel Ragon, “The New York Times”, 3 gennaio, New York
Frank Gribbing, “Museum Journal”, Stedelijk Museum, Amsterdam, Aillaud, Arroyo, Recalcati
Gérald Gassiot-Talabot, “Art International”, Lugano, Trois peintres leaders de la jeune école de
Paris
Antonio del Guercio, Introduzione al catalogo, Galleria II Fante di Spade, Roma
“The Time”, 11 giugno, New York City
“New York Herald Tribune”, 22 maggio, New York City
Stuart Preston, “The New York Times”, 29 maggio, New York City
Daniel Anselme, Introduzione al catalogo, Galleria St. Germain, Parigi, Une passion dans le désert
1966
Gérald Gassiot-Talabot, Introduzione al catalogo, Galleria II Fante di Spade, Roma
Jean-Jacques Léveque, “Arts” n. 34, Parigi
Renato Barilli, Introduzione al catalogo, Galleria II Fante di Spade, Roma, Aillaud, Arroyo,
Recalcati
Antonio del Guercio, “Rinascita” n. 45, Roma
Gérald Gassiot-Talabot, “Art International”, settembre, Lugano, Le peintre masqué
1967
Dino Buzzati, “Corriere della Sera”, 29 ottobre, Milano
Giuliano Zincone, “Corriere d’Informazione, 3 novembre, Milano
Franco Passoni, “Avanti”, 29 ottobre, Milano
Mario De Micheli
1968
Vladimir Ayala, “Journal do Brasil”, 30 aprile. Rio de Janeiro, “Recalcati un pintor do angùstia”
Giovanni Testori, Introduzione al catalogo. Galleria Il Tempo, Bologna
1969
Carlo Volpe, Introduzione al catalogo “1962-1972”, Galleria Eunomia, Milano e Galleria Valérie
Schmidt, Parigi
Virgilio Guzzi, “Il Messaggero”, 10 marzo, Roma, “Erotismo di Recalcati”
Carlo Volpe, “L’Espresso”, 6 marzo, Roma, Recalcati
Mario Perazzi, “Corriere d’Infornazione”, 21 marzo, Milano
Carlo Giacomazzi, “L’Avvenire”, 22 marzo, Milano
Dino Buzzati, “Corriere della Sera”, 26 marzo, Milano
Leonardo Sinisgalli, “II Tempo”, aprile, Milano
Gérald Gassiot-Talabot, “Opus”, n. 12, Parigi
P. Mario Sironi, L’Uomo Vogue, ottobre
1970
Carlo Volpe, Introduzione al catalogo, Fondazione Olivetti, aprile, Copenhagen
Gérald Gassiot-Talabot, Enrico Crispolti, Antonio del Guercio, Introduzione al catalogo, Galleria
Eunomia, Milano
Illustrazioni per il racconto “Esquire” di David Ohle John, “Politiken”, 11 aprile Copenhagen
Mario Perazzi, “Corriere della Sera”, 12 novembre, Milano
Marco Valsecchi, “II Giorno”, febbraio, Milano
Giorgio Mascherpa, “L’Avvenire”, 23 ottobre, Milano
1971
Jacques Prévert, Poesia dedicata a Recalcati per il ciclo di opere “Intérieur américain”
Alain Jouffroy, Introduzione al catalogo, Palazzo dell’Arengario, Milano, novembre, “Interno
americano”
Duilio Morosini, “Paese sera”, 14 ottobre, Roma, “Recalcati, tedio a New York”
Gino Visentini, “II Messaggero”, 14 Ottobre, Roma, “Le domestiche ossessioni”
Virgilio Guzzi, “II Tempo”, 16 ottobre, Roma
Vito Apuleo, “La Voce Repubblicana”, 29 ottobre, Roma
Guido Giuffré, “Settegiorni”, 7 novembre. Roma, “Solitudine americana di Recalcati”
Jacques Prévert, Introduzione al catalogo, Galleria II Fante di Spade, Roma
Vittorio Scorza, “Il Giornale del Mezzogiorno”, 18 novembre, Roma
Dario Micacchi, “L'Unità”, 20 ottobre, Roma
Dino Buzzati, “Corriere della Sera”, 28 novembre, Milano
Guido Giuffré, “N.A.C. - notiziario d’arte contemporanea”, dicembre, Roma
1972
Alain Jouffroy, “Opus”, Parigi, Recalcati à New York
Sabine Marchaud, “Le Figaro”, 31 gennaio, Parigi, “Pour un langage de communication”
Henry-Gaby Carles, “Les lettres françaises”, 2 febbraio Parigi, “L’Amérique vue par Recalcati”
Marice Escapasse, Introduzione al catalogo, Centre Georges Pompidou, Parigi, “Images
Détournées”
Alain Jouffroy, Introduzione al catalogo, Musée d’Art Moderne de la ville de Paris, Paris
1973
Janine Warnod, “Le Figaro”, 7 novembre, Parigi, “La grande bouffe à la sauce Chirico”
Clément Tallien, “Pariscope”, n. 285, ottobre, Parigi
Alain Jouffroy, Introduzione al catalogo, Galleria Mathias Fels, Parigi
Pierre Cabanne, “Combat”, 22 ottobre, Parigi, “Recalcati demystifie Chirico”
Jacques Michel, “Le Monde”, 27 ottobre, Parigi, “Chirico relu par Recalcati”
Otto Hahn, “L’Expres”, n. 1164, 29 Ottobre, Parigi, Recalcati
Jean-Jacques Léveque, Introduzione al catalogo, Galleria Jardin des Arts, novembre, Parigi
Monique Dittiere, “Les Nouvelles Littéraires”, 5 novembre, Parigi
Alain Joyffroy, “Opus”, n. 47, novembre, Parigi, “Recalcati, la faini de tout”
André Parinaud, “Forum des Arts”, Televisione francese, Antenne 2, 22 settembre, Parigi
1974
Gérald Gassiot-Talabot, “Opus”, n. 49, marzo, Parigi
Dino Buzzati, “31 collages di Antonio Recalcati per il libro II pianeta Buzzati,”- “Ed. Apollinaire”,
Milano
Gilbert Lascault, “Le Arti”, aprile, Milano
Pierre Gaudibert, Introduzione al catalogo. Galleria Rencontre, Parigi, Paysages
Lorenzo Vincenti, “Oggi”, 22 maggio, Milano
Luigi Carluccio, “Panorama”, 23 maggio, Milano
Luciana Bortolon, “Epoca”, 25 maggio, Milano
Stefano Ghiberti, “Gente”, 30 maggio, Milano
Gilbert Lascault, “XX Siecle”, n. 42, Parigi
Alain Jouffroy, Introduzione al catalogo, Galleria Cavour, Milano
Antonio Donat-Cattin, “Recalcati”, 30 maggio e 8 giugno, RAI Radiotelevisione Italiana
Jean-Christophe Bailly, “Fin de Siécle”, n. 1, Parigi
Alain Jouffroy, “Edition de la conaissance”, Bruxelles, Les prévoyants
Gilbert Lascault, Introduzione al catalogo, Galleria Cavour, Milano
Sergre Sautreau, “Edition Christian Bourgois”, Parigi, Illustrazioni di “Paris, le 4 novembre 1973”
1975
Henry-Alexis Baatsch, “Fin de Siècle”, n. 2, Parigi
Alain Jouffroy, “Edition Christian Bourgois”, Parigi, “Les empreintes de Recalcati 1960-62”
Jean-Christophe Bailly, Introduzione al catalogo, Maison de la Culture, Rennes
Carol Naggar, “Zoom”, settembre, Parigi, Recalcati
Alain Jouffroy, “XX Siècle”, n. 44, Parigi
Herny-Alexis Baatsch, Introduzione al catalogo, Maison de la Culture, Rennes, “Recalcati”, 31
Janvier 1801”
Alain Jouffroy, “Union générale d’èdition”, Parigi, “De individualisme révolutionnaire”
Maîten Boisset, “Quotidien de Paris”, 13-14 dicembre, Parigi, 31 Janvier 1801
Jean-Jacques Purocher, “7 jours en Ile et Vilaine”, 12 dicembre, Rennes, Antonio Recalcati à la
Maison de la Culture
1976
Henry-Alexis Baatsch, Introduzione al catalogo, Galleria Fred Lanzemberg, Bruxelles
Paul Caso, “Le Soir”, 1 aprile, Bruxelles, Antonio “Recalcati peint la mémoire tragique du temps”
André Chabot, “Les Cahiers de la Peinture”, maggio, Parigi, “Les empreintes comme un suaire”
Maurice Béjart, “Les Nouvelles Littéraires”, Parigi 5 gennaio “Tant que les barriéres subsisteront”
Eddy Devolves, “Notre Temps, 1 aprile, Bruxelles, Recalcati
Jean-Christophe Bailly, “XX Siècle”, n. 46, Parigi
Michael Gibbons, “The Herald Tribune”, 17 luglio, Parigi, The Venice Biennale
Pierre Mazar, “Le Figaro”, l6 aprile, Parigi, “Empreintes”
M.Van Andemhove, “Hedbo”, n. 76/28, Bruxelles, “Chevalet Guillotine”
Michael Gibbons, “The Herald Tribune”, 28/29 febbraio, Parigi, “Le regard mental
Myriam Szeyer, “Ecotérapie”, aprile, Parigi, “Les empreintes de Recalcati”
Bernard Noël, “Connaissances des Arts”, aprile, Parigi, “Recalcati”
Francis Paraut, “Info-Artitudes”, maggio, Parigi, “Une peinture à y lasser sa peau”
Bernard Noël, “La Quinzaine Littéraire”, 16 aprile, Parigi “Recalcati: je voulais rétrouver mon
corps”
Jacques Miche, “Le Monde”, 21 aprile, Parigi, “Un nouveau regarsd sur les empreintes de
Recalcati”
Jean Jacques Leveque, “Le Quotidien de Paris”, 17 aprile, Parigi, “Recalcati, empreintes des
cachot”
Jean-Paul Liegeois, “L’Umanité”, 22 ottobre, Parigi
Gilbert Lascautlt, “XX Siecle”, n. 46, Parigi
Otto Hahn, “L’Exprès”, 29 aprile, Parigi
Jean-Jacques Léveque, “Les Nouvelles Littéraires”, 8 aprile, Parigi, Le suaire de la torture
Jean-Christophe Bailly, Introduzione al catalogo, Galleria Fred Lanzemberg, Bruxelles
1977
Maîten Boisset, “Le Matin de Paris”, 16 giugno, Parigi, D’un pinceau tranchant
Geneviève Brerette, “Le Monde”, 4 agosto, Parigi, A’ l’ombre de la guillotine
Maîten Boisset, “Exit”, n. 12-13 Herbst, Parigi, La solitude d’un peintre
Patrice Delbourge, “Exit”, n. 12-13 Herbst, Parigi
Jean-Louis Ferrier, “L’Exprès”, 20 giugno, Parigi, La résurrection de Torino Lebrun
France Huser, “Le Nouvel Observateur”, 27 giugno, Parigi, Dröle d'histoire
Alain Jouffroy, Introduzione al catalogo Guillotine et peinture, Edition du Chëne, Parigi
Olivier Zepplin, “Exit”, n. 12-13 Herbst, Parigi
1978
Maîten Boisset, “Cimaise”, nd 133-134, gennaio, Parigi, Portrait dans un miroir
Maîten Boisset, Intervista con Antonio Recalcati al X Festival di Cagnes-sur-Mer, giugno, Propos
sur la peinture
1979
Henry-Alexis Baatsch, Introduzione al catalogo, ARC-Musée d’Art Moderne de la Ville de Paris,
Parigi
Pierre Cabanne, “Elle”, l6 aprile, Parigi, “Recalcati peintre de la main au regard”
Maîten Boisset, “Le Matin de Pari”, 26 marzo, Parigi, “Le trente dernières toiles d’Antonio
Recalcati”
Olivier Cena, “Telerama”, 28 aprile, Parigi
Hellen Hammer, “Theater”, “Recalcati Maler und Bühnenbildner”
Maîten Boisset, Introduzione al catalogo, Galleria Nina Dausset, Parigi, “Dessiner un pinceau et
parler de peinture”
France Huser, “Le Nouvel Observateur”, 2 aprile, Parigi
Gilbert Lascault, “La Quinzaine Littéraire", 16 marzo, Parigi, “Loins des questions sous la pluie”
Josette Meleze, “Pariscope”, 11 aprile, Parigi, “Recalcati: être ou ne pas être”
René Mischa, “Art International”, Lugano
Ennio Puchard, “Prospettive d’Arte”, maggio, Milano
Clément Tallien, “Pariscope”, novembre, Parigi
Jean-Marie Tasset, “Le Figaro”, 6 aprile, Parigi, “Recalcati: l’autre face des choses”
Claudine Wayser, “Art Press”, maggio, Parigi
1982
Alain Jouffroy, Introduzione al catalogo, Galleria Seul, Seul, Corea
Alain Jouffroy, Introduzione al catalogo, Bridgestone
Museum, Tokio, Le paysage révolutionnaire de Cézanne à aujourd'hui
1983
Dominique Cordelier, Introduzione al catalogo, Galeries National du Grand Palais, Parigi, Raphaél
et l’art française
Rossana Bossaglia, Susanna Zatti, Il Pop art e l’Italia, Castello Visconteo, Pavia
1985
Maïten Boisset, Introduzione al catalogo. Hotel de Ville, Villeurbanne
Elyane Gerome, “Le journal de Lyon”, 28 dicembre, Lione, “Recalcati: la déviation du basket”
Chefs d’oeuvre du Musée d’Art Moderne de la Ville de Paris
1986
Vittorio Sgarbi, Introduzione al catalogo. Galleria Didier Imbert Fine Arts, Parigi
Marie-Christine Hugonot, “Les Nouvelles Littéraires”, aprile, Parigi. “Intervista con Antonio
Recalcati”
1987
Vittorio Sgarbi, Introduzione al catalogo. Palazzo Reale, Milano, Retrospettiva di Antonio
Recalcati: dall’impronta all’immagine
Mita de Benedetti, “Capital”, settembre, Milano, Attenti ai lavori in corso
Anna Cella, “II Giornale”, 2 ottobre, Milano, L’impronta scura dell’arte
Adelaide Murgia, “Il Giorno”, 3 ottobre, Milano, L’arte figurativa torna e commuove
Giovanni Testori, “Corriere della Sera”, 4 ottobre, Milano, “II ritorno di Narciso”
Paola Trombetta, “L’Avvenire”, 6 ottobre, Milano, “Il grande anelito oltre le catene”
Adelaide Murgia, “Il Giorno”, 9 ottobre, Milano, “Figure da Bresso a New York”
Betty Giuliani, “Corriere Medico”, 14 ottobre, Milano, “I segni del corpo schiacciati sulla tela”
Luigi Settembrini, “Epoca”, 15 ottobre, Milano, “A New York come su un palcoscenico”
Mita de Benedetti, “Epoca”, 15 ottobre, Milano, “Figure d’artista”
Liana Bortolon, “Grazia”, 18 ottobre, Milano, “L’ambiguità di spazio e di tempo nell’opera di
Antonio Recalcati”
Enrico Filippini, “La Repubblica”, 20 ottobre, Roma, Tele da schiaffi
Mauro Corradini, “Il Giornale di Bergamo Oggi”, 23 ottobre, Bergamo
Renato Barilli, “L’Espresso”, 25 ottobre, Roma, “Son quasi ricalcati”
Mario Petazzi, “Amica”, 26 ottobre, Milano, “Parigi e New York addio: me ne torno a Bresso”
Maria Negro, “Alba”, 30 ottobre, Milano, “Dall’impronta all’immagine: Antonio Recalcati”
Vittorio Sgarbi, “Il Piacere”, settembre 1987, “Capitale dell’arte”
Franco Passoni, “Artecultura”, novembre, Milano, “Un utile confronto tra Antonio Recalcati e
Achille Funi”
Arturo Carlo Quintavalle, “Panorama”, 1 novembre, Milano, “Quale surrealismo?”
Nicoletta Pallini, “Gioia”, 2 novembre, Milano, “II ritorno di Recalcati”
Marina Mojana, “II Sole 24 Ore”, 8 novembre, Milano, “Ignoti e umani eroi d’oscure dannazioni”
Enzo Fabiani, “Oggi”, 11 novembre, Milano, “Antonio Recalcati dall’impronta all’immagine”
Maria Negro, “L’Eco di Bergamo”, 14 novembre, Bergamo, "Dall’impronta all’immagine, 90 opere
di Recalcati” a Milano”
Claudio Castellani, “Annabella”, 19 novembre, Milano, “Un pittore che ha lasciato l’impronta”
Giorgio Mascherpa, “L’Avvenire”, 28 novembre, Milano, “Recalcati Antologico”
Alberico Sala, “Arte”, 180, dicembre, Milano, “Marciapiedi di New York”
Linda De Sanctis, “La Repubblica”, 18 dicembre, Roma, “Impronte, vent’anni dopo”
1988
Franco Simongini, “II Tempo”, 3 gennaio, Roma, “Recalcati, dall’impronta all’immagine tra
suggestioni informali ed espressionismo”
Doriano Fasoli, “Corriere della Sera”, 6 gennaio, Roma, “Dall’impronta all’immagine”
Dario Micacchi, “L’Unità”, 9 gennaio, Roma, “Recalcati e il profumo degli anni Sessanta”
Vito Apuleo, “Il Messaggero”, 28 gennaio. Roma, “L’Esploratore dell’asfalto”
Sandra Giannattasio, “Avanti!”, 2 febbraio. Roma, “Recalcati riscopre l’immagine!”
Alberto Moravia, “Corriere della Sera”, 3 marzo, Milano, “Diario europeo”
Gianfranco Projetti, “Penthouse”, marzo, “Recalcati: immagini d’autore”
Alain Elkann, Enzo Siciliano, Introduzione al catalogo, Galleria Philippe Daverio, Milano, “After
Storm”
Lilian Tomasi, “Confidenze”, luglio, Milano, After Storm
Liana Bortolon, “Grazia”, luglio, Milano, Recalcati dopo la tempesta
1990
Renato Barilli, Introduzione al catalogo, Galleria Farsetti, Milano, Dipinti e disegni dei primi anni
Sessanta
Pier Giovanni Castagnoli, Giovanni Patani, Introduzione al catalogo, Galleria Philippe Daverio,
Milano, Antonio Recalcati - Ceramiche
Nicoletta Pallini, “Gioia”, novembre, Milano, L’evoluzione di un artista
Liana Bortolon, “Grazia”, novembre, Milano, Le ceramiche spezzate di Antonio Recalcati
Guido Vergani, “La Repubblica”, 18-19 novembre, Milano, Recalcati ceramista - Riparto da
Milano
Giuseppe Grieco, “Gente”, novembre, Milano, Così ho tradito la pittura con la creta
Mita de Benedetti, “Epoca”, novembre, Milano, Vasi di coccio
Carlo Pranza, “II Giornale”, 4 dicembre, Milano, La sfida della terracotta
Elisabetta Muniti, “II Giornale”, 4 dicembre, Milano
Mario Quesada, “L’Espresso”, 9 dicembre, Milano, Recalcati: ceramica d’autore a Milano
1991
F. Massoni, “Forme” n. 136, gen- feb. Cermenate (Como), Recalcati e la ceramica un confronto
sofferto
Dieter Ronte, Introduzione al catalogo, Galerie de France, Parigi, Terracotta
M. De Micheli, G. Mascherpa, G. Seveso, Introduzione al catalogo, Realismo esistenziale, Milano,
Permanente, 1991
1992
Volker Feierabend, Dieter Ronte, Gerhard Kolberg, Norbert Nobis, Uwe Rüth, Christoph
Brockhaus, Gottlieb Leinz, Introduzione al catalogo, Montrasio Arte, Monza, “Antonio Recalcati:
Retrospettiva 1957-1964”
1994
Giovanni Anzani, Credito Valtellinese, Palazzo Sertoli, Sondrio
1996
Nicoletta Pallini, Antonio Recalcati il Narratore Solitario
Gian Carlo Boyani, Suggestioni Ceramiche da Viaggi ravennati, Introduzioni per la mostra: “Non
solo vasi”, Edizioni Luisa delle Piane, Milano
1998
Alberto T. Galinberti, “Antonio Recalcati Anno 1957”, Introduzione alla mostra allo studio
Gastaldelli, Milano
1999
Paul Ardenne, L’art a la fin du XX siecle
Jean Louis Pradel, La beauté flacée d’apocalypses oublièes, Introduzione alla mostra “A mano a
mano” a Villa Tamaris, La Seyne sur Mer
Jean Luc Chalumeau, “Le retour de Antonio Recalcati”, Introduzione alla mostra da Lavige
Bastille, Paris
D.B. Nice Matin 24.01-2000, “Retro de maitre. Antonio Recalcati a Villa Tamaris” - Var Matin
9-12-199: Recalcati a la villa.
Jacques Queyras, Antonio Recalcati, Mano a Mano (12-12-1999) Quarante ans de peinture,
quarante de vie
Daniel Alfandari, “Recalcati a la Villa”, (11-12-1999) le Journal de la Seyne sur Mer
J.L.P. e Renaud Facoux, L’evenement du jeudì. 20 janv. 2000 “Recalacti l’homme-Pinceau”
Letizia Dannery, “L’expresse”, (13-1-2000) “Les empreintes de Recalcati”
Marie Godfrin Guidicelli, Liberation 20 janvier 2000, Mano a Mano avec Recalcati
D.B: - Var Matin: 12-12-1999 “Mano a Mano avec Recalcati”
Nice Matin - la Seyne: “Antonio Recalcati a Mano a Mano”, (12-12-1999)
Dino Buzzati, “31 collages di Antonio Recalcati per il libro II pianeta Buzzati”, Ed. Apollinaire,
Milano
2004
Beatrice Buscaroli Fabbri, “Ritratto intervista essenziale” e Introduzione al catalogo (Seinen
tausend Aufgaben) Catalogo mostra Galleria Credito Valtellinese “Le stelline”
jean Luc Chalumeau, Antonio Recalcati, “La passione della libertà”
2007
Beatrice Buscaroli Fabbri, Introduzione alla mostra, “Cinque Momenti dal ’60 allo ’06”
2010
Francesco Dama, Della Presenza e della Rappresentazione: Recalcati, Introduzione al catalogo
della mostra “Antonio Recalcati - Sunset Boulevard”, Galleria del Palazzo-Coveri, Firenze


About the Artist

1938 Bresso, Italy

Antonio Recalcati was born in Bresso on 1938. Autodidact.
1957- First personal exhibition at the Galleria Totti in Milan, catalogue introduction by the poet Roberto Sanesi
Wins the prize Mochetti “Tavolozza d'Argento” at Circolo della Stampa in Milan. Begins to work with ceramics, that leaves soon to take it again only in 1990.
With Piero Manzoni subscribes the “manifesto” against the Premio San Fedele on behalf of Avantgarde, organizing an alternative-exhibition at Bar Giamaica in Milan.

1958- Meets Giorgio Kaisserlian, writer and art critic, bound by a long friendship.
Exhibition at Galleria San Fedele in Milan with Sordini and Verga. Catalogue introduction by Kaisserlian.
Writings by Enrico Crispolti “La quarta generazione” on Aujourd'hui, 20 December, Paris.
First journey to Paris where meets Gianni Bertini that introduce him to Jean Jacques Leveque, manager of an art gallery and editor of the art magazine “Le Soleil dans la Tète”. Exhibition in Leveque art gallery.
1959 – Second personal exhibition at Galleria Pater in Milan. Catalogue introduction by Emilio Tadini.
Journey to Paris taking part to the exhibition “Art Interplanetaire” in the gallery “Le Soleil dans la Tète”.
In Bruxelles meeting with Stella Smith and Richard Lucas and invitation for an exhibition in their art gallery.
1960 – On 8 October opening of his exhibition at the Carlo Cardazzo’s “Galleria del Cavallino” in Venice with the first “impronte” and the catalogue introduction by Giorgio Kaisserlian.

On 19 October exhibition of the “impronte” in Stella Smith and Richard Lucas's “Galerie Smith” in Bruxelles A wide inquiry by Marco Nozza on the magazine “L'Europeo” “La Borsa dei Pittori”opens with a full page photo of Recalcati; it deals with the series of “impronte” titled “Una storia per Johannesburg” and the article excited wide interest.
At the “Galleria del Grattacielo” in Milan the new trends with catalogue by Giorgio Kaisserlian. Jean Jacques Lévèque asks him for a cover illustration of the magazine “Sense Plastique” n.13, Paris.
1961 – In Milan he meets Alain Jouffroy, interested in his work and invite him to take part to “L'Antiprocess”, collective painting with Baj, Crippa, Dova, Errò e Jean Jacques Lebel: the painting provokes a scandal followed by a trial (all acquitted ten years after). Luce Hoctin writes about him in “La Jeune Peinture” on the magazine “L'Oëil” n°13, Paris. First acquisition of “Museo di Arte Moderna” (today PAC) of Milan of an “impronta” exhibited in Premio San Fedele. Meeting with the critic Enrico Crispolti. In September he is called for military service. 1962 – Discharged from the force, in February he prepares a personal exhibition at Carlo Cardazzo's “Galleria del Naviglio” in Milan. This is the second exhibition with “impronte” in Italy and the catalogue is introduced by Emilio Tadini.
Second personal exhibition on 29 November at the Gallery Smith in Bruxelles; takes part to “Nuove Prospettive della Pittura Italiana” in Bologna and to the exhibition in L'Aquila “Alternative Attuali” conceived by Enrico Crispolti.

The Galleria Odissea takes interest in his works and buys some “Impronte”. He receives the prize “Cesare da Sesto” in Sesto Calende. Beginning of a great friendship with Dino Buzzati, that writes a wide article on “Rassegna” n°5, Milan.

1963 – In January personal exhibition at “Galleria Il Punto” in Turin with introduction by Enrico Crispolti. On the beginning of February he moves to London where works for four months and there conceives the “Pittura Narrativa”, paintings composed by different images called “Racconti”. Back from London takes part to the exhibition “La Nuova Figurazione” at Palazzo Strozzi in Florence. Wins the “Premio Apollinaire” in Venice, and take part to the exhibition in London at the “Piccadilly Gallery”, organized by Luca Scacchi Gracco. Eduardo Arroyo and his merchant Georges Detait owner of the “Galérie Claude Levin” visit him in Milano. He is selected to represent Italy in the Biennial of Paris and he settles in Paris. Beginning with Arroyo and Aillaud a long friendship and great artistic complicity. Paul Rebeyrolle invite him to the exhibition “Salon de Mai” in the Museum of Modern Art of Paris. Exhibition “Abattoir” at the Gallery Claude Levin. Jean Depeyrau writes on him on “Quadrum” n° 14, Bruxelles.

1964 – In comparative of Milan he finds the artistic and social life of Paris very exciting, he works very much, takes part in “Jeunes Peinture”, in Museum of Modern art and “Salon de Mai” exhibitions, where exhibits a painting after Picasso that will be reproduced on “New York Times” full page with a text by Michel Ragon at loggerheads with Paris.
Takes part in the great exhibition at the Museum Vor Schoenkunst in Gand “Figuration e defiguration de Picasso à nos jours” and in the exhibitions “Nouveau Realisme et Nouvelle Figuration” at the Museums of Modern Art of Berlin, Hague, Vienna and Bruxelles. Wins the prestigious “Prix Lefranc” in Paris.
Beginning of the series of collective paintings with Aillaud and Arroyo and taking part to the memorable “Biennale di Venezia” of '64, with the presentation of the young Italian painting.

1965 – Mario Roncaglia is his art dealer, visits him in Paris regularly and promotes the exhibitions at “Galleria Il Fante di Spade” in Roma with catalogue introduction by Antonio del Guercio and at “Galleria Mutina” in Modena. He move to New York where meets Schifano. They work in the same hotel and are joined by Tano Festa: life together, mythical boxing matches in the old Medison Square Garden. Schifano is friend of Larry Rivers and so they go round the rising American avantgarde. His exhibition at the “Gallery Odyssey” is successful: articles on “Times” 11 June, “New York Herald Tribune” 22 may “New York Times” 29 may with paintings illustrations and text by Steward
Preston Meanwhile in Paris Recalcati is invited to take part with other young painters to the annual exhibition of the “Ecole de Paris” that takes place at the “Galerie Charpentier”. All the abstractionist avangarde refuses to agree to them and prefers to abandon this historical tradition. The Gallery “Valerie Saint Germain” exhibits “La Passion dans le desert” from a novel by Balzac painted by Aillaud, Arroyo and Recalcati, with a text by Daniel Anselme.

The “Passion” is exhibited at the “Kunsthalle” in Lund, Sweden. Le “Figarò litteraire” publishes a cartoon on the three painters painting the same picture.
Takes part to “Salon de Mai” and to “Salon de la Jeunes Peintures”, at the “Musée d'Art Moderne de la Ville de Paris”. At the Gallery “Creuze” with “Figuration Narrative”, exhibition conceived by Gerald Gassiot Talabot. Exhibition of the second series of collective pictures painted with Aillaud and Arroyo titled “Vivre au laisser mourir , la fin tragique de Marcel Duchamp” with a great scandal. More than one hundred surrealist (sic) intellectuals sign a “Manifesto” against the three authors. Instead Marcel Duchamp with humor visits the exhibition and sign the Livre d'or. He is the representative of Italy in the Biennial of Sao Paulo. Exhibition at “Les Galeries Pilote” in Lausanne; “Groupe 65” at Musée d'Art Moderne de la ville de Paris; “Il Presente contestato” in Bologna. He is awarded in Marseille with “Prix le Provencal”.

1966 – Exhibition at the Galerie Smith in Bruxelles “Recalcati: Seven years at Galerie Smith”. In Paris personal exhibition at “Galerie André Schoeller”: Salvador Dalì is present on the opening day, 4 May. New exhibition in Rome at “Galleria Fante di Spade” with catalogue introduction by Gérald Gassiot Talabot.
He takes part in “Salon de Mai”, in the exhibitions “Salon de la Jeune Peinture” in Paris and “Figuration Narrative” in Praha.

On the magazine “Art International”of September a long article by Talabot “Le Peintre masqué”. Exhibition “Aillaud Arroyo Recalcati” at “Fante di Spade” Gallery in Rome. Catalogue introduction by Renato Barilli. The “Musée d'Art Moderne de la ville de Paris” buys the painting exhibited at “Salon de la Jeune Peinture”.
In Antibes meeting with Jacques Prevert and beginning of a deep and long friendship.

1967 – Takes part to the “Salon de la Jeune Peinture”. Journey to Venezuela with Aillaud and Arroyo for the exhibition at the “Fundacion Mendoza” in Caracas.
Followed by a journey to Mexico and New York. Return to Paris for “Salon de Mai” in June. Return to Milan where prepare an exhibition at Piero Fedeli's “Studio Bellini”.
Journey to Cuba in June with artist and intellectuals of the french delegation. Takes part to the great collective painting made by the artist of “Salon de Mai”.
In September takes part to the “V Biennale de Paris” and to the exhibition organized by Gerald Gassiot Talabot “La bande dessinée et la figuration narrative” at the “Musée des Ars Decoratifs” in Paris. Buzzati asks him for posing. He wants to make a book with a modern revisitation of the myth of Orpheus and Eurydice. Buzzati as painter will make an extraordinary series of drawings. Recalcati will give his face to Orpheus, as a modern rock music player.

1968 – Return to Paris. After the May 1968 he return to Milan and works at “Biografia Immaginaria 1962-1972”: ten years between reality and imagination, where his past, present and future painting run one another, and real and unreal facts are mixed as in a real-unreal dream. This series is exhibited at gallery “Il Fante di Spade” in Rome, at “Galleria Eunomia” in Milan and “Galérie Valerie Schmidt” in Paris. This exhibition is organized the friend and writer Michel Rachline. In September painting of a series of pictures for the movie “Ils” by Jean Daniel Simon.

1970 – In April exhibition at Olivetti Foundation in Copenhagen; in Milan at “Galleria Eunomia” exhibition “Recalcati 1962-1966”. The texts are by Gérard Gassiot Talabot, Enrico Crispolti and Antonio del Guercio. In October departure for a new stay in New York; illustration of a tale by David Ohle on “Esquire”. He returns in Paris with a new series of paintings titled “Interno Americano”.
1971 – Exhibition in Paris at “Galérie Armand Zerbib” of the paintings for the movie by Jean Daniel Simon. The friend Jacques Prevert write the poem “Interieur Americain”dedicated to his paintings. It will be the preface of the catalogue of the exhibition at “ Il Fante di Spade” in Rome of the paintings made in New York. In November the same exhibition is proposed in Milan at “Palazzo dell'Arengario”. In the catalogue also a text by Alain Jouffroy. Many articles on newspapers in Rome and Milan, among these the one written on 28 November on Corriere della Sera, the last written for him by his friend Dino Buzzati.
1972 – Return to Paris and on the end of January exhibition of “Interieur Americain”at “Musée d'Art Moderne de la Ville de Paris”. Short journey to New York and new atélier in Paris. Takes part to “Salon de Mai”, “Biennale di Milano” and “Arte Contro” in Bologna.

1973 – In Paris painting of a series of pictures titled “La Boheme de Chirico”. It is an unconventional and ironic reading of the great Giorgio. The metaphysical monuments in the squares are transformed in physical objects as sandwich, macaroni dish, Parma ham, etc. The exhibition at the “Galérie Mathias Fels” in Paris gets a great success of the critics. The text of the catalogue is by Alain Jouffroy. The president Pompidou, ill, sends a jeep from Elyseum palace to have some paintings to be looked.

Sixth journey to the Far East.

1974 – Exhibitions at “Galleria Jean Boghici” in Rio de Janeiro, at “Galérie Rinoceros” a Paris. In Milan at “Galleria Cortina” with “Boheme de Chirico” paintings, with catalogue texts by Alain Jouffroy, Gilbert Lascault and Reno Cortina. Carrying out of 31 collages for the book “Il Pianeta Buzzati” Edizione Apollinaire, Milan. Prized with “Oscar de la Peinture” at the Sixth Painting Festival in Cagnes sur Mer (France).

1975 – The Publisher and friend Christian Borgois publishes the book “ Les Empreintes de Recalcati 1960-1962”- Text by Alain Jouffray and layout by Roman Cizlevich.
The theater director Klaus Michael Gruber asks his collaboration for the stage designing of “Empedokles Hölderlin Lesen” for the “Schaubühne am Halleschen Ufer” theatre in Berlin: this is the beginning of his collaboration with the theatre. Exhibition at the “Maison de la Culture” of Rennes in France of the series of paintings inspired by
the story of Topino Le Brun guillotined during Napoleonic regime on 31 January 1801: this date will be the title of this series of paintings.
1976 – Takes part to “XXXVII Biennale di Venezia” The “Galérie Fred Lanzenberg” exhibits the series “31 Janvier 1801”. The Musée d'Ixelles buys a big painting. Exhibition at “Galérie Paul Facchetti” in Paris. Pontus Hulten designated director of the new Musée Nationale d'Art Moderne, exhibits 120 paintings from 1960 to 1962 at the Centre Nationale d'Art Contemporain (CNAC) a Paris.
1977 – On the opening of the “Centre Pompidou” the paintings on “Topino le Brun”are displayed in an exhibition conceived by Alain Jouffroy and wanted by Pontus Hulten, including Monory, Dufour, Velickovic, Chanbas, Fromanger and Errò. He takes part to the exhibition “Mithologies Quotidiennes” at “Musée de la Ville de Paris”.
1978 – Taking part to “XXXVIII Biennale di Venezia” to the exhibition “Images Detournée”. Exhibition “Peintures and Guillottine” at “Musée de la Vieille Charité” in Marseille, opened by Gaston Deferre and Edmond Charles-Roux. Exhibition “Biennale de la Critique” at the “Musée d'Art Moderne” of Anverse and Charleroi.
Personal exhibition at the “Galleria Gastaldelli” in Milan and “Galleria Gissi” in Turin.
1979 – Personal exhibition at the “ Musée d'Art Moderne de la Ville de Paris” with the series titled “Huil sur toile”. It's a query on painting, on the means of painting , on the reason of painting. Exhibition at “Galérie Nina Dausset” in Paris. He takes part to exhibition “Trends of Art in France 1969 – 1979” at the “ Musée d'Art Moderne de la Ville de Paris” and to the exhibition “La famille des Portraits” at the “Musée des Arts Decoratives” in Paris.
1980 – Bored with Paris, on January 1980 he moves to New York where stays five years; he will return to Paris on April 1th 1985.
The “Maeght Foundation” in Saint Paul de Vence exhibits their drawings: among them there are three by Recalcati.
He takes part to the exhibitions “Trends of the European Modern Art” at the “Gallery Pierre Cardin” in New York; “Small Works by Big Artists” at the“Gallery Sneed” in Rockford – Illinois; “1870-1970 un siecle de paysages de France” at the Ghinza Stores in Tokio; and with Bonalumi at the “Yves Arman Gallery” in New York.
The exhibition of the drawings of the Maeght Foundation are showed in all the United States.

Exhibitions “Realismo e Nuova Figurazione” at the “Galleria Montrasio” in Monza, and “Il Segno Sensibile. Trent’anni d’arte Italiana 1950-1980” at the Villa Manzoni in Lecco.
1982 – Alain Jouffroy is in Tokio as cultural attaché; taking part to the exhibition titled “Figuration de Cézanne à aujord’hui”and, in Seul to the one titled “Nouvelle Figuration”.
Return to New York and beginning of a great series of paintings on the basket-grounds in the streets of New York.
1985 - Back to Paris on April 1st, with the american paintings. The art dealers Didier Imbert and Nello di Meo organize exhibitions in Paris at “Fiac” , in Venice at “Sima Salone Internazionale dei Mercanti d'Arte” and at “Hotel de Ville” in Villurbane, Lyon.
1987 – Moving to Milan in a new residence and painting activity. Exhibition “A la Rencontre de Jacques Prévert” at “Maeght Foundation”. Painting a series of pictures with subject a lonely walk after a storm: the New York memories.
Milan dedicates to him a great personal retrospective exhibition at “Palazzo Reale-Salone delle Cariatidi”, titled “Recalcati dall’impronta all’immagine”, that will be exhibited again in Rome at “Museo di Roma”- Palazzo Braschi.
1988 – Again exhibitions, but no more painting. Beginning of a long period without painting that will have an end only on 1996.
1990 – The ceramics manufactory “San Giorgio” in Albisola invites him “to make a ceramic vase”. Reluctant, he goes to Albisola and just touching the fresh clay, a new creativity springs up. In one year he makes about one thousand vases and outlines. The vases are broken, tortured, strangled, bounded, wounded. The millenarian shape of vases has been always respected, painted and decorated, but never violated. The action made on the vase is equivalent to the one by Fontana cutting the canvas. On the following years, till today, you can see the influence that this action had on the new forms of ceramics, porcelain and glass. Sometimes, real copies and plagiarism.

From 1990 to 1992 the vases are exhibited in Milan, Paris, in four German museums. The publisher Hirmer of Munich publishes three editions of the book “Terracotta” in german, english and italian, edited by Volker Feierabend. Still in 1992 Recalcati realizes that his “Bozzetti” (outlines) can be considered sculptures, brings them to Carrara and begins a series of marbles. He uses marbles of different colors, His work is opposite to the tradition, as his ceramic work. He use the marble as a soft, flexible and domesticated matter. He carries on his ceramics works at Bottega dei Gatti in Faenza and his sculptures at the Studio Angeli in Querceta.

1996 – Return to the painting with a series of pictures titled “Souvenir de Essaouria” after a journey in Morocco with the friend Aldo Mondino.
Carrying out of the mural painting dedicated to the victims of the Shoa for the “Sinagoga degli Argenti” in Casale Monferrato.
1999 - Return to Paris, and painting the series “Le nu et la mort “ from a dream or a vision had during the long days passed in the reanimation room.
2000 - He leaves Paris and returns to Milan to follow treatments.
2003 – Again in Paris to paint, but he feels a changed air around him. After two years he returns to Milan definitely. He is one of the five Italians invited at the exhibition Paris Capital of the Arts, 1900-1968” at the “Royal Academy” of London that the following year will be exhibited at the“Museum Guggenheim”
2006 – He is prized with “Premio Presidente della Repubblica”, proposed by the Accademia Nazionale di San Luca.

2007- A great painting inspired by the last supper by Leonardo da Vinci is exhibited at “Ultime ultime cene”, exhibition at the “Galleria Gruppo Credito Valtellinese” Palazzo delle Stelline, Milan Personal exhibition at Accademia di San Luca in Rome titled “Cinque momenti dal'60 allo'06”. Fifty years from the first personal exhibition. Retaking of the theme of the “impronte” of the sixties', now named “le impronte rivisitate”.
2010 – Personal exhibition at “Galleria del Palazzo Coveri” in Florence, titled “Antonio Recalcati-Sunset Boulevard”, with the latest and unpublished works.
2011 – Painting of a series of pictures titled “ La nascita dell'Italia”.


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