To Dream, to Collect



Single piece Signed Dated Titled








50 x 50 cm
19.69 x 20 in


5000,00 €

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  • About the work

Acrylic on canvas

Signed on verso

exhibited on Carlo Nangeroni. Il dominio della luce, curated by Ivan Quaroni, 26th October 2018 - 5th January 2019, ABC-ARTE, Genoa, IT.

About the Artist

1922 New York, United States

Carlo Nangeroni was born in New York on 24 June 1922 into a family of Lombard emigrants. In 1926, he came to Italy to study. Between 1938 and 1942 he attended the courses of the Higher Christian Art School Beato Angelico of Milan and meanwhile, evening classes at Brera where he studied under Mauro Reggiani. In 1946, he returned to the USA and took up residence at New York, where his family lived. The following years were full of life experiences, experiments and research in the field of art in contact with the renewal of American painting and the rise to fame of the continent’s major artists. In the spring of 1948, he met the sculptor Alexander Archipenko, who was in New York at the time, and attended his workshop. In that period, he came into contact with the ideas and protagonists of action painting such as Willem de Kooning and Franz Kline. In that same period, he became acquainted with and took interest in the experiments into sounds and noises which the composer Edgar Varese conduct ed in his workshop/laboratory in Mac Dougal Street. He met and mingled with poets and writers such as Alastair Reid, Octavio Paz and Jorge Guillen. In 1949, he set up his first one-man show at the New York cir culating gallery of paintings. For a short period, he painted using an abstract expressionist style. The works of this period were later exhibited in a one¬man show in 1958 at the Meltzer gallery on 57th Street. During those same years, he took an interest in stage design and worked in conjunction with the National Broadcasting Company television network, creating stage designs for opera and theatre performances including Verdi’s Macbeth, Mozart’s The Magic Flute, Menotti’s Amal and the night visitors and theatre productions such as Shakespeare’s Richard II and Macbeth, Rostand’s, Cirano de Bergerac, and others still. His works appeared in collective exhibitions at the Pennsylvania National Academy of Philadelphia, the College of fine Arts University of Illinois, and the Detroit Institute of Arts of Detroit. Between 1954 and 1957, he created a series of almost mono chrome works (white with the addition of a little color) with strong textures and minor relief, in which figurative recollec tions mix with non-objective scores. In 1958 he helped create an advertising project entitled the Chrisalis by Salvador Dali for a pharmaceutical company, manufacturers of the first tran quilizers. In 1958, he returned to Italy to live in Milan in order to dedicate himself wholly to painting. In November, 1959 he exhibited for the first time in Italy at the Schneider gallery in Rome together with the sculptor Carmelo Cappello. The exhibition was also visited by Willem de Kooning who was in Rome at the time. In 1960, he consid ered his informal period had come to a close and changed his free brush strokes into definite plastic elements and began experimenting with rational organization. From arched brush strokes came semi-circular elements and hence the circle which became a constant feature of his work. In Milan, he made contact with the artistic milieu of the city. He met artists such as Gianni Colombo, Piero Manzoni, Lucio Fontana, the T group, Paolo Schiavocampo, Gianni Brusamolino, Miro Cusumano, the critics Franco Russoli, Marco Valsecchi, Carlo Belloli and many others. In 1963, he staged a one-man show in Bergamo, presented by critic Marco Valsecchi. Again in 1963, he met Emilio Scanavino, who invited him to Calice Ligure in the hinterland of Savona, where he had just moved. For Nangeroni too, Calice became a summer retreat and shortly after, numerous other Italian and foreign artists arrived to form a bustling colony during the summer months. In 1965 he was invited to the 9th Quadrennial in Rome. In 1967 he was invited, togeth er with Emilio Scanavino, Arturo Bonfanti, Carmelo Cappello and Renato Volpini to the Art Alliance Foundation of Philadelphia. In 1968, he married Mary D’Orazio. In the years 1968 and 1969, he was invited to the Musee d’Art Moderne to the “Realites Nouvelles” exhibitions. In 1968, he designed the settings for De Falla’s El retablo de Maese Pedro, Dallapiccola’s Job, and Strawinsky’s Oedipus Rex for the sea son of the Teatro Comunale Margherita of Genoa. In 1972 he was invited to the Venice Biennial for graphics. In those years he was busy trying to develop a working “grammar” of his own, mainly using ranges of grays on white backgrounds and almost abandoning color. In 1973, he was invited to the 10th quadrennial in Rome. Since 1981, fascinated by combinations, theme variations and the ambiguity of color, he has experimented and developed iridescent colors by matching colored vertical straight lines and small diagonal lines to form a microstructure pattern where light is a constant concern. In 1984, he completed a six¬meter x two meter eighty fresco in the Melzi di Cavaglia estate (Vercelli). In 1986, he was invited to the Venice Biennial in the “Color, aspects of organized chromatic research” section and to the 11th Quadrennial in Rome. In the nineties, his quest contin ued, by fragmenting backgrounds into color particles, to achieve greater light vibration. In 1994, two large anthological exhibitions were staged at the Ducal Palace of Massa and at the Terni Council Library, both presented by the critic Luciano Caramel. Between 1973 and 2004, he taught at the Milan design Polytechnic. His works can be found in collections in the USA, in France, in Germany, in Italy, in the contemporary art collection of New York University, at the Turin Modern Art Gallery, at the modern art museum of Saarbriiken and in many other exhibi tions in the USA, France, Germany and Switzerland. He passed away in March 2018.

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About the Gallery


Genoa, Via XX Settembre 11A

ABC-ARTE's activity is based on the promotion and diffusion of contemporary artistic languages, focusing mainly on two directions: the support towards artists of new generation, who experiment with languages and formats, and the study of XXth century international masters, with a preference towards abstraction and especially gestural abstraction. In both...

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