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Salvador AulestiaColloquio senza successo (talks without success) - Salvador Aulestia (1915-1994)1986
1986
About the Item
This is a masterwork by Salvador Aulestia (Barcelona 1915 - Milano 1994).
There are very few paintings such this one as for rarity than for quality.
Two women on the beach who, as the title suggests, try to strike up a conversation, but to no avail.
The position of the two women, one standing and the other lying down, creates, together with the small red boat in the background, a perfect balance of image.
It embraces the "figurative post-cubism" style.
In fact Salvador Aulestia was artistically grown during the maximum succes of cubism and met Picasso on several occasions and exchanged opinions that, although sometimes divergent, were always constructive.
During his artistic career, he repeatedly crossed over with the Cubist style, often interlacing it with his own ism, Apotism, whose manifesto was promulgated in the 1960s.
On the back ther are several inscriptions made by the artist himself and the symbols that Salvador Aulestia used to identify works of a certain period to avoid counterfeits.
The artwork is accompanied by a certificate of authenticity from the Salvador Aulestia's archive in Milan, the only one authorised by the artist himself by notarial deed to authenticate his works.
It will be shipped in crate with export documents.
This artwork belongs to the Apotism, the particular pictorical style that was presented with the "Manifesto Apotista" by the author himself on May 15, 1965.
Apotism is a name derived from Apotelesmatics (Apotelesmatics is in the plane of Telesma , which here means gnosis, transcendent knowledge). Apotism as an art concept is not a propaedeutic to painting, sculpture, architecture or poetry, rather a Cosmosemiological notion: Cosmos mathematical order, Semiology symbolic order; in practice: astronomical law combined with that of symbol.
Apotism represents the shortest distance between idea and expression; it is an eternal art by essence or the eternal essence of art and has for its axiom the following theoretical message: "Marguerite contemplates the sea, the sun and an old man who contemplates the sea and the sun; but the sea, the sun and the old man, without Marguerite have no reality."
Nietzsche in "Thus Spoke Zarathustra" has the latter utter, while contemplating the rising sun, "How great you are, but were it not for me watching you, you would be nothing."
Marguerite is the "contemplator," a magical element that legalizes the sea, the sun and the old man. "The feminine," says Nietzsche, "is the counterpart of the utopian aspect of reality; that is, what nevertheless remains of magic. In Apotheosis, Marguerite represents precisely this kind of femininity. The axiom "Marguerite contemplates the sea" is the Cubic Stone of Apotism.
- Creator:Salvador Aulestia (1915 - 1994, Spanish)
- Creation Year:1986
- Dimensions:Height: 35.44 in (90 cm)Width: 47.25 in (120 cm)Depth: 1.19 in (3 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Perfect conditions. Colors are brilliant and lines are well defined.
- Gallery Location:Milano, IT
- Reference Number:
Salvador Aulestia (Barcelona, 1915 - Milan, 1994) belongs with Pablo Picasso, Juan Mirò, Salvador Dali, Antoni Tapies and a few others, to that small group of Spanish authors who have won a leading place in the history of twentieth-century art. His ever-evolving pictorial iter has taken him from classical figurative to pure abstract, figurative abstraction, fauvisme, postcubism, expressionism, and surrealist abstraction, before founding, in 1963, his own current: Apotism, publishing the Manifesto of Apotelesmatic Art. This is an artistic experience that goes beyond the aesthetic, historical and sociological concept of the work of art, as it tends to communicate to the viewer the world of mystery behind ordinary reality. Salvador Aulestia has applied Apotism not only in his work as a painter, draftsman and sculptor, but also in his work as an architect, musician and poet. Exhibitions. After his first exhibition, in 1936, in Barcelona, he held more than 70 solo shows around the world, including, in the 1950s, eight in the United States, between New York and Los Angeles. In Italy, he held, in 1980, a solo show, in Milan, at the Palazzo Reale. He participated in events with the leading artists of his generation. Biennials. Aulestia has been invited to major biennials around the world. Among them, the one in São Paulo ( Brazil), the Spanish-American ones in Barcelona, New York and Paris, as well, of course, as the one in Venice, where, he also represented Spain, in 1968, with a solo room. His works can be found in several museums, including the Museums of Contemporary Art in Barcelona, Madrid and Las Palmas, the Museums of Modern Art in Paris and Bern, the Kunstakademie in Düsseldorf and the Pinacoteca di Brera in Milan. The world's largest iron sculpture. Appreciated as a sculptor, Aulestia created, between 1963 and 1965, what is still the world's largest iron sculpture, "El Sideroploide," 65 meters long and 17 meters high, placed in the port of Barcelona. It should be noted that, unlike most artists, Aulestia did not limit himself to drawing, but forged, with the help of workers at the Port of Barcelona, the work himself. Not only a painter and sculptor, Salvador Aulestia, an architect, designed several public and private buildings in Barcelona and the rest of Catalonia. These include the Infanta Isabel building, a 400-apartment palace with 10 entrances, in which are as many of his two-meter-tall sculptures. He has created sets for the following plays: his friend Eugene Ionesco's Amadeus, de Capmany's Vent de Garbi, and Ibsen's The Idiot. He has published several books in Spain and Italy. Others include "Tauromaquia," the Teraphim and "The Magic of Football," Chiavari Prize in 1982. Appointed Universal Catalan by King Juan Carlos of Spain, Salvador Aulestia has lived in Milan since 1972 where we remember the great exhibition at Palazzo Reale.
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