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Rodolfo Aricò (1930-2002)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Rodolfo Aricò (1930-2002)

"Oggetto non oggetto" Omaggio a Kasimir 'Blu' ("Object non-Object" Homage to Kasimir 'Blue')

Rodolfo Aricò (1930-2002)
"Oggetto non oggetto" Omaggio a Kasimir 'Blu' ("Object non-Object" Homage to Kasimir 'Blue')
signed, titled, inscribed and dated ‘aricò ‘67/68 “oggetto non oggetto” OMAGGIO A KASIMIR 'BLU'’ (on the reverse of the upper element)
acrylic on canvas laid on board, in four joined parts
49 3/8 x 75 x 3 1/8in. (125.4 x 190.6 x 8cm.)
Executed in 1967-1968
VAF Stiftung Collection, Rovereto.
Private Collection, Europe.
V. W. Feierabend, Pittura analitica, Cinisello Balsamo 2008 (illustrated, p. 43).
D. Ferrari (ed.), VAF Stiftung: The Collection, Milan 2012 (illustrated in colour, p. 405).
Stockholm, Liljevalchs Konsthall, Bildlyrik från Italien: abstrakta konsten efter 1945 - Visual Lyrics from Italy, 1991 (illustrated in colour, p. 135).
Milan, Studio Carlo Grossetti, L'inquieto geometrico. Aricò Carrino Kolìbal LeWitt Nigro Shanahan Spagnulo Tremlett, 1996 (illustrated, p. 15).
Darmstadt, Institut Mathildenhöhe, Rodolfo Aricò, 2005, no. 21.
Rovereto, MART-Museo di arte moderna, Un secolo di arte italiana: lo sguarda del collezionista. Opere dalla Fondazione VAF, 2005 (illustrated, p. 188).
Rovereto, MART-Museo di arte moderna, La magnifica ossessione, 2012-2014 (installation view illustrated in colour, pp. 32 & 142).
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.
Post lot text
A complete dossier for the work has been consigned to Archivio Rodolfo Aricò, Milan.

Lot Essay

The totalising shape of four joined panels performs an irresistible optical trick in Rodolfo Aricò’s Oggetto non oggetto (Object non-Object). An irregular hexagon, illusionistically rendered in three-dimensional form, is conjured by the quartet of flat, blue surfaces. Chronologically working alongside 1960s minimalism, but enjoying a recent surge in popularity, Aricò’s work engages with phenomenological relationships between the objecthood of the painting and the perceptual field of the viewer. With this approach, the painting becomes a blank instrument of axonometric perspective, rather than a vessel for illusionistic pictorial space. Writing for a 1967 catalogue of Aricò’s work, Giulio Carlo Argan determined that ‘Aricò explores the boundary between object and image. What he would like to obtain is not the diverse consistency of the two fields but the line of demarcation, the critical point of passage from the state of the object to the state of the image and the contrary. So he looks for a sign which means both image and object’ (G. C. Argan, in Aricò 67, exh. cat., Galleria l’Attico, Rome, 1967, translated and reproduced in Rodolfo Aricò: Objects of Painting and Painting of Space, exh. cat., Peggy Guggenheim Collection, Venice, 2013, p. 27).

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