Oil, Wood veneer and glue on canvas. Signed, dated and titled on the reverse, titled on the stretcher. 100 x 85.5 cm. . [JS].
• Burris's early, progressive material paintings in wood, iron, or jute are among the most influential in European post-war art. • The famous wood-based “Legni” are among the most internationally sought-after works by the Italian artist. • From the renowned Galleria Blu in Milan, also representing Lucio Fontana in the late 1950s, to a private collection in the Rhineland. • Most recently part of a German private collection of international post-war art for over 30 years and on permanent loan at the Hessisches Landesmuseum, Darmstadt. • The Guggenheim Museum, New York, honored Burri's pioneering oeuvre with the retrospective “Alberto Burri. The Trauma of Painting” (2015/16). • Today, Burri's material pictures from the 1950s are part of significant international collections, including the Solomon R. Guggenheim Museum, New York, and the Museum of Modern Art, New York. LITERATURE: Cesare Brandi, Burri, Rome 1963, cataloguie raisonné plate 68 (illustrated in b/w). Burri: Contributions to the Systematic Catalogue, Fondazione Palazzo Albizzini, Citta di Castello 1990, S. 440f., catalogue raisonné no. 1891 (illustrated). - - Christie's, London, Contemporary Art, December 2, 1993, lot 26.
Alberto Burri, Galerie d'Art Moderne Marie Suzanne Feigel, Basel, Feb./March 1959, no. 3. Mostra di Alberto Burri, Galleria La Loggia, Bologna, May 1959 (illuistrated on p. 1). Burri, Wiener Sezession, Vienna, July/Aug. 1959, no. 17. The 1950s. Aspekte und Tendenzen, Von der Heydt-Museum, Wuppertal, Sept.-Nov. 1977, no. 31. Hessisches Landesmuseum, Darmstadt (1993-2018, permanent loan)
Galleria Blu, Milan (with the stamp on the stretcher). Galerie Aenne Abels, Cologne (with the gallery's label on the stretcher). Klaus Gebhard Collection (1896-1976), Wuppertal (ca. 1963). Private collection, Hesse (since 1993: Christie's)
Burris's early material pictures - the destruction of the traditional pictorial concept Alberto Burri's early material pictures are among the most critical positions in European post-war art. As early as the 1950s, these revolutionary creations in wood, metal, or plastic, which challenged the traditional pictorial concept, were recognized beyond Burri's home country, Italy, in the first museum exhibitions in the USA. In 1958, the year the present work was created, the San Francisco Museum of Art dedicated the first US museum solo exhibition to the artist. Other major museums followed suit, paying tribute to this exceptional Italian artist's progressive work, regarded as one of the most pioneering figures of European Post-War Modernism. Finally, “Alberto Burri: The Trauma of Painting” is the telling title of the significant Burri retrospective at the Guggenheim Museum in New York in 2015/16, which, in a few words, aptly describes the essence of Burri's work: The courageous break with traditions and the forceful destruction of the traditional pictorial concept through the use of materials that had previously been non-art materials, such as wood, gunny, metal, and plastic. Burri does not paint; he nails, glues, sews, welds, solders, and staples the most diverse materials onto the canvas and soon begins to integrate the element of fire. Burri's “Legni” - Aesthetic innovations on the basis of non-art materials Burri was a doctor by profession before he served as a soldier at the front and then as a field medic in World War II. After his battalion was imprisoned in Tunisia in May 1943, Burri was taken to a POW camp in Texas, where he started to work as an artist for the first time. When Burri returned to Italy in 1946, he set up a studio in Rome and began his pioneering artistic work as an autodidact. In 1947, he traveled to Paris and encountered the early works of Jean Dubuffet, who experimented with tar, which would have a lasting impact on his creation. Henceforth, Burri used the image carrier as the basis for his massive material images and assemblages. In addition to the “Legni,” which includes our fascinating work, he made the famous early series “Sacchi,” patches of jute sacks and fragments of discarded clothing stitched together, as well as the soldered metal objects “Ferri.” Many of these aesthetic innovations are based on Burri's visual experiences as a soldier in the Second World War, which he processed artistically in his unusual aesthetic creations. Burris Œuvre - a bold new artistic beginning Burri's work represents a decisive artistic restart after the Second World War, a courageous œuvre that provided a clear counterpoint to the gestural trends of the time, be it European Informalism or American Action Painting. Burri almost entirely refuses to use color in his artworks and rigorously rejects any painterly style as a gestural signature. With all its disturbing consistency, everything that characterized this bold new beginning in Burri's art of the 1950s finds paradigmatic expression in the present work "Legno P1". From the legendary Galleria Blu in Milan, which also represented Lucio Fontana at this time, "Legno P1" was sold through the Cologne gallery Aenne Abels to the collection of the Rhineland businessman Klaus Gebhard before it was eventually sold to an outstanding German private collection of international post-war modernism at auction in London in 1993. [JS]
Condition report on request katalogisierung@kettererkunst.de
Lot Details
Oil, Wood veneer and glue on canvas. Signed, dated and titled on the reverse, titled on the stretcher. 100 x 85.5 cm. . [JS].
• Burris's early, progressive material paintings in wood, iron, or jute are among the most influential in European post-war art. • The famous wood-based “Legni” are among the most internationally sought-after works by the Italian artist. • From the renowned Galleria Blu in Milan, also representing Lucio Fontana in the late 1950s, to a private collection in the Rhineland. • Most recently part of a German private collection of international post-war art for over 30 years and on permanent loan at the Hessisches Landesmuseum, Darmstadt. • The Guggenheim Museum, New York, honored Burri's pioneering oeuvre with the retrospective “Alberto Burri. The Trauma of Painting” (2015/16). • Today, Burri's material pictures from the 1950s are part of significant international collections, including the Solomon R. Guggenheim Museum, New York, and the Museum of Modern Art, New York. LITERATURE: Cesare Brandi, Burri, Rome 1963, cataloguie raisonné plate 68 (illustrated in b/w). Burri: Contributions to the Systematic Catalogue, Fondazione Palazzo Albizzini, Citta di Castello 1990, S. 440f., catalogue raisonné no. 1891 (illustrated). - - Christie's, London, Contemporary Art, December 2, 1993, lot 26.
Alberto Burri, Galerie d'Art Moderne Marie Suzanne Feigel, Basel, Feb./March 1959, no. 3. Mostra di Alberto Burri, Galleria La Loggia, Bologna, May 1959 (illuistrated on p. 1). Burri, Wiener Sezession, Vienna, July/Aug. 1959, no. 17. The 1950s. Aspekte und Tendenzen, Von der Heydt-Museum, Wuppertal, Sept.-Nov. 1977, no. 31. Hessisches Landesmuseum, Darmstadt (1993-2018, permanent loan)
Galleria Blu, Milan (with the stamp on the stretcher). Galerie Aenne Abels, Cologne (with the gallery's label on the stretcher). Klaus Gebhard Collection (1896-1976), Wuppertal (ca. 1963). Private collection, Hesse (since 1993: Christie's)
Burris's early material pictures - the destruction of the traditional pictorial concept Alberto Burri's early material pictures are among the most critical positions in European post-war art. As early as the 1950s, these revolutionary creations in wood, metal, or plastic, which challenged the traditional pictorial concept, were recognized beyond Burri's home country, Italy, in the first museum exhibitions in the USA. In 1958, the year the present work was created, the San Francisco Museum of Art dedicated the first US museum solo exhibition to the artist. Other major museums followed suit, paying tribute to this exceptional Italian artist's progressive work, regarded as one of the most pioneering figures of European Post-War Modernism. Finally, “Alberto Burri: The Trauma of Painting” is the telling title of the significant Burri retrospective at the Guggenheim Museum in New York in 2015/16, which, in a few words, aptly describes the essence of Burri's work: The courageous break with traditions and the forceful destruction of the traditional pictorial concept through the use of materials that had previously been non-art materials, such as wood, gunny, metal, and plastic. Burri does not paint; he nails, glues, sews, welds, solders, and staples the most diverse materials onto the canvas and soon begins to integrate the element of fire. Burri's “Legni” - Aesthetic innovations on the basis of non-art materials Burri was a doctor by profession before he served as a soldier at the front and then as a field medic in World War II. After his battalion was imprisoned in Tunisia in May 1943, Burri was taken to a POW camp in Texas, where he started to work as an artist for the first time. When Burri returned to Italy in 1946, he set up a studio in Rome and began his pioneering artistic work as an autodidact. In 1947, he traveled to Paris and encountered the early works of Jean Dubuffet, who experimented with tar, which would have a lasting impact on his creation. Henceforth, Burri used the image carrier as the basis for his massive material images and assemblages. In addition to the “Legni,” which includes our fascinating work, he made the famous early series “Sacchi,” patches of jute sacks and fragments of discarded clothing stitched together, as well as the soldered metal objects “Ferri.” Many of these aesthetic innovations are based on Burri's visual experiences as a soldier in the Second World War, which he processed artistically in his unusual aesthetic creations. Burris Œuvre - a bold new artistic beginning Burri's work represents a decisive artistic restart after the Second World War, a courageous œuvre that provided a clear counterpoint to the gestural trends of the time, be it European Informalism or American Action Painting. Burri almost entirely refuses to use color in his artworks and rigorously rejects any painterly style as a gestural signature. With all its disturbing consistency, everything that characterized this bold new beginning in Burri's art of the 1950s finds paradigmatic expression in the present work "Legno P1". From the legendary Galleria Blu in Milan, which also represented Lucio Fontana at this time, "Legno P1" was sold through the Cologne gallery Aenne Abels to the collection of the Rhineland businessman Klaus Gebhard before it was eventually sold to an outstanding German private collection of international post-war modernism at auction in London in 1993. [JS]
Condition report on request katalogisierung@kettererkunst.de
