Giorgio Morandi (1890-1964)
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Giorgio Morandi (1890-1964)

Grande Natura Morta con la Lampada a destra (Vitali 46)

细节
Giorgio Morandi (1890-1964)
Grande Natura Morta con la Lampada a destra (Vitali 46)
etching, 1928, on Japan paper, a very fine impression of Vitali's eighth, final state, signed in pencil and dated 928, numbered 5/75 (there were also three printer's proofs), published by Graphica Nova, Milan, with their blindstamp, with wide margins, light and mount staining, in good condition, framed
P. 253 x 345 mm., S. 429 x 578 mm.
来源
With Galleria Marescalchi, Bologna (according to a pencil inscription verso).
注意事项
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Charlie Scott
Charlie Scott

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Inspired perhaps by the great master etchers Rembrandt and Goya, whom he profoundly admired, Morandi begun to make prints in 1912, when he was still a student at the Academy of Fine Arts in Bologna. Etching became a significant part of his artistic practice, in particular during the period of 1928-1934, when he made the majority of his prints and, although entirely self-trained as a printmaker, Morandi held the Chair in Printmaking at the Academy of Fine Arts in Bologna from 1930 until 1956.

Grande Natura morta con la Lampada a destra is one of the largest and most elegant still-lifes created during these years of intense print production, the epitome of his style and printing technique.
Highly methodical in his use of the etched line, Morandi creates shapes, volume and space by varying the density of his marks, by hatching and cross-hatching alone, thus avoiding the use of a descriptive outline. The resulting system of shaded surfaces is contrasted with areas completely untouched by the needle - bianco assoluto ('absolute white'), as Morandi called it - which create a highly atmospheric chiaroscuro effect.
As Giorgio de Chirico noted, Morandi was a master of uncovering the metaphysics of the most commonplace objects, that is, of discerning the poetry within those things that habit has rendered too familiar - objects we see but no longer pay attention to.
Although Morandi exhibited with the Futurists in 1914, he was never much influenced by their aesthetics or cultural agenda. He was very familiar with the metaphysical works of de Chirico and Carr, yet probably felt the greatest affinity with the strapaese movement, which was inspired by provincial cultural traditions.