ENRICO CASTELLANI (B. 1930)
signed and numbered 'Castellani 2/12'; stamped with the maker's mark and '750' (on the reverse)
white gold necklace
Pendant: 2½ x 2½ in. (6.2 x 6.2 cm.)
Necklace diameter: 6 in. (15.3 cm.)
Executed in 2012 in an edition of twelve plus four artist's proofs
This work is accompanied by a certificate of authenticity, signed by Castellani.
Private collection, London.
The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.
On very close inspection there are a few very fine scratches, in particular to the reverse, where there is one small area of discoloration. Subject to the foregoing, it is our opinion that the work appears to be in generally very good condition.
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Credited as one of the most important precursors of minimalism and conceptualism, Enrico Castellani was an instigator of a movement in the 1960s that took a radical evaluation of pictorial practice. His most celebrated works of this period were the Superfici (surfaces), which swept away any hint of figurative representation or the romantic sensibility of the prevailing Arte Informel to establish a timeless, iconoclastic art that that did not presume to convey any message other than the pure structure of what it was. Castellani's Superfici were the elegant solution and material response to the artist’s call, first voiced in the magazine Azimuth that he founded in Milan with Piero Manzoni in 1959, for an elemental art based solely on the concepts of space, light and time. Creating a staggered grid of peaks and troughs, constructed via a taught membrane of canvas stretched over a framework of nails, Castellani succeeded in creating a bristling surface, which produced the illusion of broad ranging tonal and perspectival effects that shift and vanish according to the location of the viewer and the ambient light of the environment. The featured necklace Superficie is an extension of these ideas, highlighting the artist’s plight to create an aesthetic that could be both personal and universal and would bridge the boundary between the pictorial and sculptural. Made from an edition of twelve this is the first time that this work has been offered at auction.
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