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Gianpaolo BertoDeath in Venice - Original Etching by Gianpaolo Paolo Berto - 19741974
1974
About the Item
Death in Venice is an original Contemporary artwork realized by the Italian artist Gianpaolo Berto (Adria, 1940) in 1974.
Original B/W Etching on cardboard. Image Dimensions: 34.5 x 34.5 cm
Hand-signed, numbered and dated on the lower left corner: 36/40 Berto '74.
Edition of 40 prints.
Mint conditions.
Death in Venice is an excellent artwork realized in the Second half of the XX Century by the Italian artist Gianpaolo Berto (Adria, 1940). He began to take an interest in painting around 1953 after visiting an art exhibition and after receiving oil paints as a gift from an aunt with which he created his first painting. He begins to paint on all the surfaces he finds, from plywood to other materials, and makes friends with some "elderly" such as the landscape painter Foster, the dialectal poet Livio Rizzi or the dramatic critic Eugenio Ferdinando Palmieri, who identify in him the characteristics of a strong artistic personality. He participates in impromptu events organized within the small Adrian cultural world.
- Creator:Gianpaolo Berto (1940 - 2003, Italian)
- Creation Year:1974
- Dimensions:Height: 23.63 in (60 cm)Width: 19.69 in (50 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:
Gianpaolo Berto
Gian Paolo Berto born and raised in the limited but fervent artistic environment of Adria after the war where, apart from the isolated and not yet rediscovered genius of the Anglo-Saxon Foster, a new cultural climate was forming alongside the figures of Scarpari, Reali, Rizzi, Palmieri , Gioli. Then in Rovigo, he is studying with Prudenziato and Breseghello and in friendship with Gabbris Ferrari. The meeting with the masters Zancanaro and Levi is dazzling and constitutes the springboard of this eclectic artist in the world of contemporary Italian painting. Despite having been among the very few admitted to De Chirico's studio (but also by Guttuso and Picasso), and has exhibited in prestigious galleries and museums, Berto has always exempted himself from appearing in the windows of the great art market, preferring contact, in an anti-elitist key, with the most genuine audiences: students, simple people, artists and intellectuals who conduct their research with rigor and autonomy from fashions and trends. This does not mean that his painting is detached from the context of contemporary art. Indeed, the painter's characteristic appropriation of the reality that surrounds him and the evolving forms of painting in Berto is explicit and, as often happens in art, prophecy. The debt contracted by American Pop towards the European one is known: a front that at the time found an attentive and operative Berto and then, in the following decades, ready to grasp the flourishing of the successive frontiers of art.
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