GIANNI PIACENTINO (B. 1945)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
GIANNI PIACENTINO (B. 1945)

Sbarra decorata firmata Decorated Signed Bar

Details
GIANNI PIACENTINO (B. 1945)
Sbarra decorata firmata
Decorated Signed Bar
signed, titled and dated ‘SBARRA DECORATA FIRMATA gianni piacentino1970’ (on the reverse)
polyester-coated and painted wood
7.7/8 x 98.7/8 x 2.3/8in. ( 18 x 251.3 x 6cm.)
Executed in 1970

This work is accompanied by a photo-certificate signed by the artist.
Provenance
Studio Casoli, Milan.
Acquired from the above by the present owner.
Literature
Catalogo Generale di Gianni Piacentino, www.giannipiacentino.com, no. 95 (illustrated).
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.

Brought to you by

Alessandro Diotallevi
Alessandro Diotallevi

Lot Essay

On the artistic scene of the late 1960s (his beginnings go back to 1965), Gianni Piacentino was a distinctive artist, identifying geometric figures in essential forms, and characterising them, above all, in the materials used to decorate them: from nitrocellulose enamel to bodywork paint, to acrylics sought for special colour effects. This “sbarra” (bar) of 1970 is interesting because the name of the artist becomes an element characterising the work itself, and part of its decoration. In our opinion, the ideal position for it is above a door, at a height at which you are forced to raise your head to capture the purity and essentiality of its forms, with this signature in the middle that is almost a mark of identity.
Another type of works by Piacentino are those inspired by vehicles. In which the dynamism of the forms, the sophisticated colours (as in all his work), the industrial paints, the details themselves lead one to think of vehicles created for the myth of speed.
Instead, they are static structures that will never move. The notion of mechanical dynamics is instilled in all their details, but they are then denied the effectual reality of “movement”, through the choice of the artist.

More from Eyes Wide Open: An Italian Vision

View All
View All