Franco Grignani (1908-1999)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM AN IMPORTANT PRIVATE ITALIAN COLLECTION
Franco Grignani (1908-1999)

Proiezione accumulata (Accumulated Projection)

Details
Franco Grignani (1908-1999)
Proiezione accumulata (Accumulated Projection)
signed and dated 'Franco Grignani 65' (on the reverse); inscribed 'Franco Grignani Milano' (on the stretcher)


oil on canvas
37 5/8 x 53 3/8in. (95.5 x 135.5cm.)
Executed in 1965
Provenance
Galleria Lorenzelli, Bergamo .
Lorenzelli Arte, Milan.
Private Collection, Italy.
Acquired from the above by the present owner.
Literature
G. Dorfles, Franco Grignani, in “D’Ars Agency”, year VII, 1966, no. 1-2, pp. 120-121 (titled Diacronica no. 1).
“Flash Art”, year II, no. 9, November - December 1968.
F. Grignani, “Carta d’identità di Franco Grignani”, in Arte e Società, December 1972 - February 1973, p. 53.
M. Meneguzzo, B. D’Amore, Il rigore dell’ambiguità, exh. cat., Milan, Galleria 10 A.M. ART (illustrated, p. 129; installation view illustrated, pp. 198-199).
Exhibited
Florence, Palazzo Capponi, 1966 (illustrated).
Locarno, Galleria Flaviana, 1966.
Milan, Galleria Il Cenobio, 1966.
Bergamo, Galleria Lorenzelli, Franco Grignani, 1970, no. 14.
Milan, Rotonda della Besana, Franco Grignani, una metodologia della visione, 1975 (illustrated, mirrored, p. 164).
Lissone, MAC, Franco Grignani: l’arte del progetto, 2013 (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.
Post lot text
This work is accompanied by a certificate of authenticity signed by M. Grignani, Milan.

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Alessandro Diotallevi
Alessandro Diotallevi

Lot Essay

Perhaps best remembered for his iconic designs for the Woolmark logo, which he created in 1963, Franco Grignani was a leading force in international Post-War graphic design. He began his career as an architect before branching into design and painting, holding the position of Art Director at the influential Milanese lifestyle magazine Bellezza dItalia for much of the 1950s. Here, his iconic, distorted, Futurist typography and impactful cover designs brought him to international attention, while his personal practice remained steeped in the dynamic visual processes of photography, photomontage, and optical painting. Proiezione Accumulata forms part of a series of experiments that Grignani conducted during the 1960s, in which he carefully analysed the sensations of vision, playing with the mechanics of the image and harnessing optical illusion to animate static geometric forms and incite psychological responses in the viewer. The work focuses on three spiralling vortexes, which appear to shift, warp and vibrate before the viewer so that their stark, graphic forms simultaneously project towards and recede away from the picture plane. The effect of these oscillating spirals is heightened by the simplicity of their design, as the black and white stripes contrast starkly against one another, drawing sharp attention to the manner in which they wrap themselves around one another in an elegant rotation.

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