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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 29, 2023 | Dorotheum | Vienna | Contemporary Art I | 203 | $****** - ****** | Per la Spagna |
paintings
145 x 145 cm (57.09 x 57.09 in)
oil on canvas
signed, titled and dated on the reverse,
Karl Rödel Collection, Mannheim (inscribed with stamp on the reverse)
Galleria d"Arte Borgogna, Milan
European Private Collection (acquired directly from the above, circa 1990)
Gianni Manzo Collection, Milan (label on the reverse)
Sale, Christie"s London, 23 October 2001, lot. 124
European Private Collection
Baden-Baden, Vedova, Staatl. Kunsthalle, 19 December 1964 - 17 January 1965, exh. cat. no. 82, with ill.
Milan, Vedova, Galleria d"Arte Borgogna, December 1989 - January 1990, exh. cat. no. 5, with ill.
Fukujama, Mistero e Mito, momenti della pittura italiana 1930. 1960. 1990, Fukujama Museum of Art, April - May 1994, exh. cat. no. 64, with ill. [(This exhibition later travelled to Chiba, Prefectural Museum of Art, May - June 1994; Kochi, Museum of Art, June - August 1994 and Lida, City Museum, August - September 1994) Label on the reverse]
Hong Kong, L"Informale Italiano, Hong Kong Visual Art Centre, October - November 1997, exh. cat. p. 158
Aosta, Una Stagione Informale, Museo Archeologico Regionale, 21 June - 25 October 2014, exh. cat. p. 68, with ill. (label on the reverse)
B. Buscaroli (ed.) in “Arte”, Ed. Giorgio Mondadori, Milan, June 2014,
p. 120, with ill.
L. Mattarella (ed), La Repubblica, Milan, 10 August 2014, p. 47, with ill.
(Venice 1919-2006)
Per la Spagna, n. 10, 1962, signed, titled and dated on the reverse, oil on canvas, 145 x 145 cm, framed
This work is registered in the Fondazione Emilio e Annabianca Vedova, Venice.
Provenance:
Karl Rödel Collection, Mannheim (inscribed with stamp on the reverse)
Galleria d"Arte Borgogna, Milan
European Private Collection (acquired directly from the above, circa 1990)
Gianni Manzo Collection, Milan (label on the reverse)
Sale, Christie"s London, 23 October 2001, lot. 124
European Private Collection
Exhibited:
Baden-Baden, Vedova, Staatl. Kunsthalle, 19 December 1964 - 17 January 1965, exh. cat. no. 82, with ill.
Milan, Vedova, Galleria d"Arte Borgogna, December 1989 - January 1990, exh. cat. no. 5, with ill.
Fukujama, Mistero e Mito, momenti della pittura italiana 1930. 1960. 1990, Fukujama Museum of Art, April - May 1994, exh. cat. no. 64, with ill. [(This exhibition later travelled to Chiba, Prefectural Museum of Art, May - June 1994; Kochi, Museum of Art, June - August 1994 and Lida, City Museum, August - September 1994) Label on the reverse]
Hong Kong, L"Informale Italiano, Hong Kong Visual Art Centre, October - November 1997, exh. cat. p. 158
Aosta, Una Stagione Informale, Museo Archeologico Regionale, 21 June - 25 October 2014, exh. cat. p. 68, with ill. (label on the reverse)
Literature:
B. Buscaroli (ed.) in “Arte”, Ed. Giorgio Mondadori, Milan, June 2014,
p. 120, with ill.
L. Mattarella (ed), La Repubblica, Milan, 10 August 2014, p. 47, with ill.
España que nosotros los europeos esperamos desde hace tiempo, sabiéndola indispensable arma viva en el corazón de esta combatida dramática Europa: la verdadera.
“Papeles de Son Armadans”, no. LIX bis, Madrid-Palma de Maiorca, February 1961, p. 120
The first five years of the 1960s were an extremely productive period for Emilio Vedova, who was active in an artistic and international context that was one of the most vibrant of the 20th century. Vedova produced his “Rilievi” and his first “Plurimi” during this era, but these were also the years of Italy"s great economic boom: the golden season of a country that glimpsed a light and shifted from being a predominantly agricultural nation to a new industrial power on the geopolitical chessboard.
In this time of apparent stability, however, there is a restless, tormented soul that seems to resist the chronicles of its epoch. Emilio Vedova, in fact, embraces his own era with a different spirit; the spirit that seems to link him more closely to the generation of artists who had experienced the dramas of the Second World War first-hand: “artivist intellectuals”, as the Italian critic Vicenzo Trione would dub them, whose poetics were inevitably linked to politics, civil commitment and the need to bear testimony.
The works belonging to the “Per la Spagna” (“For Spain”) cycle originate from long journeys undertaken by Vedova across the Iberian peninsula; periods in which the Venetian master delved deeper into Spanish painting, but also became directly acquainted with the socio-political conditions under Franco"s dictatorship.
Thanks to a prize won at the Internazionale di Lissone, Vedova had undertaken a stay of more than two months between Andalusia and Castile in 1958, where he was able to admire the fathers of the Iberian artistic tradition: Velasquez, El Greco, Goya, Tàpies and finally Picasso. These artists would have a radical influence on his production.
Referring to Picasso, the Venetian painter would go on to state:
... this sign of his has a presence of stratifications that already belong, without arbitrariness, to informal automatism...
But again, in underlining the debt to the Malaga-born genius:
Guernica summarised and stirred up all our ferments of resistance, of opposition (...) The Spanish War of "36/"39 was still bleeding, it had been the first battle, the first resistance to Fascism. Guernica was freighted with all this for us (...) From Guernica, I heard the first piercing alarm of very different layers of reality.
In “Per la Spagna n.10”, Vedova embraces this logic of formal disintegration with even more radical vehemence. He moulds and gives life to connective fabrics defined by violent fields of colour, interrupted by scars, capable of evoking the typically gestural painting of the masters of Abstract Expressionism.
In this whirlwind of symbols, the black and white of a pure Klineian matrix clash with episodic flashes of rust red, which emerge from the canvas like epiphanies.
A metallic red, then. A colour that spawns multiple readings and interpretations and that metaphorically recalls the idea of revolution, of blood spilt for freedom; but also evokes the burnt colours of the Andalusian expanses. Above all, though, a colour that recalls the vision always sought by Vedova: the vision of egalitarian socialism.
