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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 1, 2016 | Dorotheum | Vienna | Contemporary Art, Part I | 663 | $****** - ****** | Reticolo |
paintings
110 x 114 cm (43.31 x 44.88 in)
oil on canvas
signed Turcato
acquired from the artist around 1968 by the present owner, Private Collection, Italy, Exhibited:, Rome, Giulio Turcato, Palazzo delle Esposizioni, November/December 1974, curated by Giovanna Dalla Chiesa and Italo Mussa, exh. cat. p. 125, no. 48 with ill.
, Fukuyama, Fukuyama Museum of Art, Mistero e Mito: momenti della pittura italiana 1930�1960�1990, April/September 1994, (itinerary exhibition), exh. cat., no. 60 with ill., (label on the reverse)
, Modena, Palazzina dei Giardini/Mantua, Palazzo della Ragione, Giulio Turcato, curated by Fabrizio D�Amico and Walter Guadagnini, February/May 1998, exh. cat., p. 72 with ill., �Giulio Turcato personified the anti-academy, ignoring common logic because his mind organised doubt spontaneously in his own way, in a superior order�, Piero Dorazio, in memory of Giulio Turcato, January 1995, After the dramatic years of the war, Giulio Turcato decidedly veered towards abstraction in 1946. On 15 March 1947, he was among eight other artists who drafted the manifesto of �Forma 1�.After forsaking his political commitment to the PCI in about 1956, Turcato gradually approached the Arte Informale movement, developing his own research on colour. From his trip to Asia in 1956 onwards, Chinese ideograms haunted his canvases as a �formal, factual and emotional representation of a way of expressing oneself.�
, Rome, Giulio Turcato, Palazzo delle Esposizioni, November/December 1974, curated by Giovanna Dalla Chiesa and Italo Mussa, exh. cat. p. 125, no. 48 with ill.;, Fukuyama, Fukuyama Museum of Art, Mistero e Mito: momenti della pittura italiana 1930�1960�1990, April/September 1994, (itinerary exhibition), exh. cat., no. 60 with ill., (label on the reverse);, Modena, Palazzina dei Giardini/Mantua, Palazzo della Ragione, Giulio Turcato, curated by Fabrizio D�Amico and Walter Guadagnini, February/May 1998, exh. cat., p. 72 with ill., �Giulio Turcato personified the anti-academy, ignoring common logic because his mind organised doubt spontaneously in his own way, in a superior order�, Piero Dorazio, in memory of Giulio Turcato, January 1995, After the dramatic years of the war, Giulio Turcato decidedly veered towards abstraction in 1946. On 15 March 1947, he was among eight other artists who drafted the manifesto of �Forma 1�.After forsaking his political commitment to the PCI in about 1956, Turcato gradually approached the Arte Informale movement, developing his own research on colour. From his trip to Asia in 1956 onwards, Chinese ideograms haunted his canvases as a �formal, factual and emotional representation of a way of expressing oneself.�
