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Mario AvatiClock - Etching on Paper by Mario Avati - 1970s1970s
1970s
About the Item
Clock is etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009).
Hand-signed on the lower right and numbered on the lower left in pencil. Edition of 52/100 prints.
In excellent conditions.
The original artwork with a superb technique, representing a big clock on a theatrical scene, well- defined silhouette, a combination of fantasy and the imaginary world with a touch of subjective interpretation which demonstrates a ludic and playful approach to dimensions.
Mario Avati (1921-2009) is a French painter and engraver, remembered as the foremost mezzotint artist, after Yozo Hamaguchi. After attending the National School of Decorative Arts in Nice and the École nationale supérieure des Beaux-Arts in Paris, Mario Avati practiced, from 1947, all printmaking techniques, contributing to the revival of graphic techniques as popular artists' media.
His favorite graphic technique, applied to his timeless still lifes, is the mezzotint, among the most demanding, abandoned because it was "too difficult", but with the final result of an emerging image from a deep black "nothingness". Avati's international fame is confirmed by numerous awards, documentary films made in Japan, in the USA and in Europe and an uncountable number of participations in exhibitions and art events all over the world.
- Creator:Mario Avati (1921 - 2009, French)
- Creation Year:1970s
- Dimensions:Height: 1.97 in (5 cm)Width: 2.56 in (6.5 cm)Depth: 0.04 in (1 mm)
- Medium:
- 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:
Mario Avati
Mario Avati along with fellow artist Marc Chagall attended the Ecole des Beaux-Arts in Paris. He began printmaking in the 1940s and later focused on mezzotint, a technique that would bring Avanti significant international recognition for his discipline. As a fellow at the Tamarind Lithography Workshop in the 1960s, he furthered his exploration of mezzotint, with the interplay of intense blackness with gradations of light that define the mezzotint process.
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