Emilio Vedova
Presenze (T.-D.EB.W.)
Artista
Emilio Vedova
1919 - Venedig - 2006
Ulteriori informazioni
Verso auf der Leinwand sowie auf dem Keilrahmen mit dem Stempel der Fondazione Emilio e Annabianca Vedova, vom 3.3.08.
Provenienza
Winkhaus-Franzius Collection, Munich.
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Descrizione
• Emilio Vedova is one of the most important representatives of abstract-informal painting in Italy
• In 1947, Vedova took part in the Venice Biennale for the first time; in 1997, he was awarded the Golden Lion for his life’s work
• His works are held in major international collections such as the Solomon R. Guggenheim, New York, the Museum of Modern Art, New York, and the Tate, London
The renewal of Italian art had been Vedova’s concern since 1946, when he founded the group ‘Fronte nuovo delle arti’ together with other anti-fascist artists. For him, this path could only be achieved through abstraction, and so, following a geometrically influenced phase in the 1950s, he developed the gestural, explosive style that matched his temperament. In his later work, the spirited gesture becomes softer and more permeable. As in most of his paintings, the contrast between black and white dominates this work. Despite their intensity, the energetically applied black brushstrokes form a permeable structure with the white background. In the centre of the canvas, Vedova applies a vertical, bold brushstroke in bright red on the reverse side. On the front, this creates a delicate red accent that shimmers through, barely visible and, as it were, a subtle intensification of the black-and-white contrast.
• In 1947, Vedova took part in the Venice Biennale for the first time; in 1997, he was awarded the Golden Lion for his life’s work
• His works are held in major international collections such as the Solomon R. Guggenheim, New York, the Museum of Modern Art, New York, and the Tate, London
The renewal of Italian art had been Vedova’s concern since 1946, when he founded the group ‘Fronte nuovo delle arti’ together with other anti-fascist artists. For him, this path could only be achieved through abstraction, and so, following a geometrically influenced phase in the 1950s, he developed the gestural, explosive style that matched his temperament. In his later work, the spirited gesture becomes softer and more permeable. As in most of his paintings, the contrast between black and white dominates this work. Despite their intensity, the energetically applied black brushstrokes form a permeable structure with the white background. In the centre of the canvas, Vedova applies a vertical, bold brushstroke in bright red on the reverse side. On the front, this creates a delicate red accent that shimmers through, barely visible and, as it were, a subtle intensification of the black-and-white contrast.