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Margherita Manzelli (b. 1968)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM THE ALESSANDRO GRASSI COLLECTION
Margherita Manzelli (b. 1968)

Il dominio trasformato - nessun amore

Margherita Manzelli (b. 1968)
Il dominio trasformato - nessun amore
signed, titled and dated 'Il dominio trasformato - nessun amore. Margherita Manzelli 1996' (on the reverse)
oil on canvas
200 x 200 cm.
Painted in 1996
Studio Guenzani, Milan.
Acquired from the above by Alessandro Grassi in the late 1990s.
Milan, Studio Guenzani, Margherita Manzelli: la terra fredda, December 1996-January 1997.
Salzburg, Galerie Thaddaeus Ropac, Antlitz/Countenance, Gesicht, Kopf und Portrait in der Zeitgenössischen Kunst, July-August 1997 (illustrated, p. 185). This exhibition later travelled to Paris, Galerie Thaddaeus Ropac, Face à face, 16 September-31 October 1997.
Milan, Fondazione Stelline, Pittura Europea dagli anni Ottanta ad oggi. Opere dalla collezione Alessandro Grassi, 6 October 2011-12 January 2014 (illustrated, p. 29).
Special Notice

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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Lisa Snijders
Lisa Snijders

Lot Essay

The piercing gaze of the female figure of Margherita Manzelli's Il dominio trasformato - nessun amore does not let go of the viewer. Her eyes are the focus of the monumental canvas, drawing in all attention. She looks shy with her concave shoulders hunched forwards, while upset with her clutched fists. Her slightly bloodshot eyes are filled with worries, and her partially clothed body is more fragile, then it would have been if she had been entirely naked. This lone slumped figure hovers in the middle of the surface, caught as it were floating in space between the trembling, opaque paint layers in a plane of nothingness. Her feet stand on clearly distinguishable tiles, but become a blurred mass near the margins. Her haunting appearance, with her pale white skin, with the blue veins shimmering through the skin of her legs, the bones of her feet clearly visible and her protruding stare lock the audience in an intimate dialogue.
Manzelli's women resemble the physique of the artist, though she stresses that her work is not autobiographical: 'I know what I'm not trying to make, and that's a self-portrait (...) My subjects are invented and I would like them to be different to me. And yet I realise that this very desire is symptomatic of the fact that something of myself remains in them' (M. Manzelli quoted in: H. Kontova, 'Margherita Manzelli. Giving sense to the senseless,' in Flash Art International, January/February 2000, pp. 102-103). She paints from memory and her figures embody abstract concepts such as identity, the self, anxiety and loneliness. In the present lot, the composition, enhanced by the ominous title (The transformed domain - no love), leaves the onlooker with a discomfiting feeling of melancholy and morbidity, forced to turn the gaze inwards.

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