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Gianpaolo BertoStudy for the Murder of Marat - China Ink Drawing - 19681968
1968
About the Item
Study for the Murder of Marat (Studio per l'uccisione di Marat) is the original black ink and black marker drawing on paper, realized in 1968 by Gian Paolo Berto (Andria, Italy, 1940), the contemporary revisitation of the homonymous artwork by Jacques-Louis David.
Hand-signed and dated in black ink on the higher right margin.
In excellent condition, except light foxing on the right margin and some minor sign of aging.
Gian Paolo Berto (Andria, Italy, 1940)
The Italian painter Gian Paolo Berto was born and raised in the fervent artistic environment of the post-war period in Adriano where a new cultural climate was forming with Scarpari, Reali, Rizzi, Palmieri, Gioli. He moved to Rovigo where he was studying with Prudenziato and Breseghello and in friendship with Gabbris Ferrari. The meeting with the masters Zancanaro and Carlo Levi is the launching pad of this eclectic artist in the world of contemporary Italian painting. Despite having been among the very few admitted to the De Chirico studio (but also to Guttuso and Picasso), and having exhibited in prestigious galleries and museums, Berto has always refrained from appearing in the windows of the mass Art Market.
- Creator:Gianpaolo Berto (1940 - 2003, Italian)
- Creation Year:1968
- Dimensions:Height: 13.78 in (35 cm)Width: 14.97 in (38 cm)Depth: 0.08 in (2 mm)
- Medium:
- Movement & Style:Synthetic Cubist
- Period:
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: J-774801stDibs: LU65035786692
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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