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Pittura 86, 1986

Contact for price about Pittura 86

Artwork offered by

Signed Titled

Size

21 x 21 cm
8.27 x 8 in

Reference

df186556

Year

1986

Medium

Paintings , Sculpture

Category


  • About the work
  • Bibliography

Provenance: Collezione privata

Exhibited: 
2015, HK, Hong Kong, Perl Lam Galleries, Pino Pinelli. Pittura. [mostra senza catalogo / exhibition without catalogue]
2015, IT, Milano, Dep Art Gallery, Antologia rossa, a cura di / curated by A. Zanchetta, p. 37
2011, IT, Brescia, Colossi Arte, A partire dal colore, a cura di / curated by I. Bignotti, p. 65

 

Literature:
2019, IT, Milano, Silvana Editoriale, Pino Pinelli, Il respiro della pittura, a cura di / curated by Archivio Pino Pinelli, p. 163
2018, IT, Milano, Palazzo Reale - Gallerie d'Italia, Pino Pinelli. Pittura oltre il limite, a cura di / curated by F. Tedeschi, p. 157
2015, IT, Lucca, Galleria Cardi Pietrasanta, Come una musica visiva, testi di / text by Claudio Cerritelli, p. 91


About the Artists

1938 Catania, Italy

Pino Pinelli was born in Catania in 1938, where he studied art. In 1963 he moved to Milan, where he still lives and works, fascinated and attracted by the artistic debate at the time, a debate enlivened by such figures as Lucio Fontana, Piero Manzoni, and Enrico Castellani. He took part in the San Fedele prize shows and, in 1968, held his first solo show in the Galleria Bergamini. In the early 1970s he began a period of reflection and research in which he tried to put into focus the unavoidable connection between tradition and innovation; he paid particular attention to the painted surface and the vibrations of painting.

From these reflections were born the series "Topologie" and "Monocromi", the surfaces of which began to vibrate with a subtle agitation, almost as though the artist wanted to convey the very breath of painting. As a result of these works, Filiberto Menna placed him in the category of what defined "Analytical Painting"; this was despite the fact that, in 1976, Pinelli had already drastically reduced the size of his works, and had then located them in a defined space, one next to the other, almost as though an explosion had hit his large canvases and had disseminated their fragments: he had by now abandoned canvas and stretchers, attracted by the very concept of painting.
This shattering of the concept of pictures into fragments was the "desperate" act of a European painter who was aware of the weight of history; he felt crushed by the unavoidable enormity of what had happened before: so the only possible act was to "think" painting rather than "make" it. Italian artists could not share the attitude of Americans who, day after day, had to create and shape their own history: for an artist who lives in the land of Piero della Francesca and Masaccio, and who is weighed down by the heaviness of Art History, the only possible attitude is to "load" painting with a new sense.

In his work, the rectangular area of the wall becomes a protagonist, because it loses its neutrality to become an integral part of the work; furthermore, the works consisting of groups of painterly elements migrate and follow a pre-established and slightly curved path, almost as though imitating the gestures of a sower of seeds: the disseminator.
If we ignore the label of "Analytical Painting", Pinelli's works can be better described as uneasy bodies of painting walking through space, wavering and migrating in small or large formations: bodies made of materials that have the marks of anxious ductility impressed on them, and that exalt the tactile physicality and visual pleasure of a colour pulsating with luminous vibrations. He has held more over than hundred shows in national and international museums and institutions, among which: Kunstverein Villa Franck, Ludwigsburg; Musée d’Art, Langres; Forum Kunst, Rottweil; Gallery Foundation of Art, Gallarate; Kunstverein Schloss Lamberg, Steyr; Exhibition Centre La Rocca Paolina, Perugia; Italian Cultural Institute, London and Prague; Cascina Roma, San Donato Milanese; Villa La Versiliana, Pietrasanta; Eolian Archaeological Museum “Bernabò Brea”, Lipari; Duke’s Palace, Senigallia; Palace of the Culture, Catania; Museum of Arts, Catanzaro.

He has taken part in many group exhibitions and international events such as the Venice Biennale (1986 / 1997), the Rome Quadriennale (1986 / 2006) and the Nuova Delhi Triennale of Art Lalit Kala Akademi, and among the museums: Public Gallery, Modena, Public Gallery, Turin; Musée d’Art Moderne, Paris; National Gallery, Rome, Forti Palace, Verona; Villa Arson, Nice, Kunstverei, Hannover; Haus am Waldsee, Berlin; Kunstverein, Bregenz; Hochschule für Angewandte Kunst, Vienna; Kunstverein, Frankfurt. Main recent solo exhibitions in museums: Trademark, Fabbriche Chiaramontane, Agrigento; Figure Astratte, Rospigliosi Palace, Rome; Fontana Manzoni Pinelli, Kreissparkasse, Rottweil; Figure Mancanti, Bricherasio Palace, Turin; Pittura 70, Zappettini Foundation, Chiavari and Milan; Arte italiana, MART, Rovereto; Pittura analitica, Permanente Museum, Milan; Pittura Aniconica. Percorsi tra arte e critica in Italia 1968-2007, Mantegna’s House, Mantua; Pensare Pittura – Una linea internazionale di ricerca negli anni ‘70, Museum of Contemporary Art Villa Croce, Genoa; Le noir absolu et le lecons de ténèbres, Villa Tamaris Centre D’Art, La Seyne sur Mer; Monocromo. L’utopia del colore, Convent of Carmine, Marsala; Superfici sensibili, CAMeC, La Spezia; Immagine della Luce, Villa Clerici, Milan; BAG, installation at Bocconi University, Milan. In 2016 he held a major exhibition at the Multimedia Art Museum in Moscow. His works belong to many permanent collections including: Museo del Novecento, Milan; Mart, Trento and Rovereto; Madre, Naples; Centre Pompidou, Paris; Museum Art.Plus, Donaueschingen (Germany).


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About the Gallery

Address

Milan, Via Comelico, 40

Dep Art Gallery opened on 22 September 2006 with an exhibition of works by Mario Nigro. Founded in Milan by Antonio Addamiano, it owes its name, which stands for Distribution and Art Promotion, to the English word "depart". It is, thus, a departure with a precise direction that the gallery pursues to this day, characterized by a broad and varied cultural pr...

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