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Gelatin silver print, printed in 1977
cm 28 x 22,5 | 11 x 8.9 in.
Edition 24 of 30
Luigi Veronesi (Milan, 1908 –1998) has investigated in the most diverse fields with a style inspired by the Bauhaus lesson. In painting he is an important exponent of Abstractionism (he signed the first Italian Manifesto and joined the Parisian group Abstraction-Création) and, from 1949, of MAC Art. Since the '20s he has worked as a textile designer (often in Paris frequented by proud anti-fascists) and as a graphic designer for magazines such as "Poligono", "Campo Grafico", "Casabella", "Ferrania". His research also sees him as a protagonist in the photographic field: he elaborates, like Man Ray and Moholy-Nagy, the technique of the photogram, in 1947 he signs the "Manifesto della Bussola" in Milan and in 1950 he joins the Photographic Union. The interventions in the theatrical field and the research, carried out with Malipiero on visual music, are valuable.
cm 28 x 22,5 | 11 x 8.9 in.
Edition 24 of 30
Signed, dated and numbered in white ink on the image
Framed
Luigi Veronesi (Milan, 1908 –1998) has investigated in the most diverse fields with a style inspired by the Bauhaus lesson. In painting he is an important exponent of Abstractionism (he signed the first Italian Manifesto and joined the Parisian group Abstraction-Création) and, from 1949, of MAC Art. Since the '20s he has worked as a textile designer (often in Paris frequented by proud anti-fascists) and as a graphic designer for magazines such as "Poligono", "Campo Grafico", "Casabella", "Ferrania". His research also sees him as a protagonist in the photographic field: he elaborates, like Man Ray and Moholy-Nagy, the technique of the photogram, in 1947 he signs the "Manifesto della Bussola" in Milan and in 1950 he joins the Photographic Union. The interventions in the theatrical field and the research, carried out with Malipiero on visual music, are valuable.
In Luigi Veronesi's photography, the elements of his profession as a bold and visionary graphic designer are openly mixed. Everything is very clear especially in the long series of "Frames" developed between the thirties and forties to follow his spirit as an abstractionist successfully experimented also in graphics and painting. The search for geometric elements is evident in these two works that are characterized by their originality: in one case the result is due to a careful and creative use of light, in the second by a juxtaposition between the circular elements placed in the background and the fabric in the foreground that partly hides them and partly wittily allows them to be glimpsed. Since Veronesi, unlike other authors who worked on the off-camera technique, worked on film, his are not unique works but can be reproduced years later under his own direction.
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