Giulio Paolini (b. 1940)
Giulio Paolini (b. 1940)
Giulio Paolini (b. 1940)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR
Giulio Paolini (b. 1940)

Copia dal vero (Copy from Truth)

Giulio Paolini (b. 1940)
Copia dal vero (Copy from Truth)
signed, titled and dated ‘Giulio Paolini Copia dal vero 1975’ (on the stretcher of the third part)
graphite on canvas and reversed canvas, in three parts
each: 31 ½ x 31 ½in. (80 x 80cm.)
overall: 31 ½ x 96 ½in. (80 x 245cm.)
Executed in 1975
Sperone Westwater, New York (acquired directly from the artist).
Acquired from the above by the present owner.
M. Fagiolo, Giulio Paolini, Parma 1976, no. 197, p. 164 (illustrated, unpaged).
G. Paolini, Figures / Intentions, Villeurbanne 1984.
A. Minola, M. C. Mundici et al., Gian Enzo Sperone: Torino, Roma, New York, 35 anni di mostre tra Europa e America, Torino 2000 (illustrated in colour, p. 282).
A. Zevi, Peripezie del dopoguerra nell'arte italiana, Turin 2005.
M. Disch, Giulio Paolini Catalogo Ragionato, vol. I, Milan 2008, no. 303 (illustrated in colour, p. 313).
Rome, Galleria D'Alessandro Ferranti, Giulio Paolini, 1975.
New York, Sperone-Westwater-Fischer, Giulio Paolini, 1977.
New York, Hal Bromm Gallery, Alighiero Boetti, Paolo Icaro, Mario Merz, Giulio Paolini, Mechele Zaza, 1979.
New York, Sperone Westwater, Early Conceptual Works: Barry, Boetti, Buren, Huebler, Kosuth, Paolini, Weiner, 1989.
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. These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Lot Essay

‘I want to be the observer who sees... all the possibilities of relationship or absence of relationship between that image and us’ – Giulio Paolini

Acquired from the artist and held in the same collection ever since, Copia dal Vero (Copy from Truth) is a playful and provocative example of Giulio Paolini’s philosophical practice. Fascinated by the intellectual processes behind artistic creation, Paolini’s practice is a captivating attempt at unlocking such unknowns. In Copia dal Vero, two squares frame a third, a simplified sketch of a canvas’s verso. These, in turn, are nested between the wooden stretcher bars of a reversed canvas. The image is self-reflexive, a dizzying puzzle in spare, elegant line. Together, these geometries represent the reverse view of a painting, a site of inquiry that Paolini has interrogated repeatedly throughout his career. Absent an image of its completed artwork, Copia dal Vero at first appears to reveal nothing. It does, however, offer up a tantalising proposition evoked in the eloquence of the title, a poetic gesture with ontological significance: what is the true nature of a painting? By refusing to disclose any picture, Copia dal Vero challenges the belief in the individuating aura of an artwork and frustrates any romanticised notion of the artist as a singular genius. Describing the work, Paolini said, ‘It alludes to the total potential that these images might be. But it leaves us out of the scene completely because we can’t see them… Certainly I am interested in the things that transcend material reality. That come from the space which is beyond us’ (G. Paolini, quoted in R. Spence, ‘Giulio Paolini at Whitechapel Gallery’, Financial Times, 11 July 2014).

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