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Alberto BurriBlacks and Whites I ( Acetates) - Plate F - Lithograph Embossing with 19691969
1969
About the Item
Hand Signed. Edition 34/90 prints plus 15 out of commerce Artist's Proofs in Roman Numerals.
Publisher : 2RC Gallery
The work is part of the "Black and white" folder that Alberto Burri realised in 1969, using an elaborate mix of techniques, such as lithography, chalcography and acetate collage. This six prints portfolio, edited in ninety copies plus fifteen artist's proof, was printed by the roman print shop 2RC, well known location for graphic experimentations between 1960s and 1970s. Valter and Eleonora Rossi, founders of the 2RC Art Editions, intensely believed that graphic had to be considered a proper artistic genre, exactly such as painting and sculpture, and not as a mere extension of them. Thanks to an inventive experimentation, 2RC was able to graphically reproduce processes and contents expressed by contemporary artists. The partnership between Rossi and Alberto Burri is one of the most relevant examples that can be made to explain such an editorial choice. New medias, such as acetate, in fact, allow a new series of artistic choices, and especially in these six "Black and White", they grant the etching the same whites range as paintings.
Acetates, although reflecting a similar period to that of artist's painting, are graphically independent from paintings. In occasion of Burri exhibition in 2RC Gallery in Milan, Cesare Brandi underlines and interesting point of view on the graphic works by the Umbrian artist, and of the relationship between graphic technique and painting genre: "With him (Burri) it is possible to consider parallel series, in which the same plastic motif is reproduced in both painting and etching, so that we may think at the etching just as a smaller motif. But the difference is the layout, the space on the sheet that focuses the image. For this reason the margins are no longer the link with the walls, like the frame in a painting, but they become an inseparable part of the image, so we can say that the etching is taking along its invisible wall".
- Creator:Alberto Burri (1915-1995, Italian)
- Creation Year:1969
- Dimensions:Height: 18.9 in (48 cm)Width: 25.2 in (64 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:Seller: J-759871stDibs: LU65036690752
Alberto Burri
Alberto Burri was born in a small town in Umbria, Italy, called Città di Castello. At the age of 25 he graduated with a degree in medicine from Università degli Studi di Perugia. He served as a physician in World War II, where his unit was captured in Tunisia in May 1943 and imprisoned in a prisoner-of-war camp in Texas. Following his release, Burri abandoned medicine and never practiced again. Instead, he took up painting.
Burri set up his first studio in Rome following his repatriation to Italy in 1946. His first solo exhibition was at the Galleria La Margherita in 1947. Burri exhibited with the Rome Art Club and was influenced by the growing Futurist use of multi-material art among his Italian contemporaries. Growing in popularity for his experimental use of pigment and resin - as well as his incorporation of burlap bags and household linens to make his famous Sacchi (sacks) and Bianchi (whites) – Burri began to exhibit in the United States from 1953. His fist exhibition in the USA was at the Allan Frumkin Gallery, Chicago, and the Stable Gallery in New York. Burri’s incorporation of raw material into his art pushed the boundaries between painting and sculpture. His ingenuity only increased over time, and there seemed to be no distinction between artistic materials and simply materials that he harnessed and moulded into art. He developed unprecedented techniques such as painting with combustion to make torched wood veneer works (Legni). steel (Ferri) and overlays of melted and charred plastic (Combustoioni Plastiche).
From 1963-1991 Burri spent the winters in Los Angeles with his wife, American dancer Minsa Craig. Here, Burri ventured into Minimalism, painting black and white fields of induced craquelure that make up his famed Cretti monochromatic collection. His Grande Cretto (1985-89) is of course at the heart of this moment as a Land art work built over the ruins of Gibellina, the Sicilian town destroyed by the Belice earthquake sequence. In 1978, Burri designed his own museum in his birth town’s Palazzo Albizzini, which opened in 1981, with works from his last series, the Cellotex, on permanent display from 1990. Since Burri’s death in 1995, in Nice, France, Burri has been the subject of many retrospectives, most notably Alberto Burri: The Trauma of Painting at the Solomon R. Guggenheim Museum (2015-2016). His work is held at the Tate, Museum of Modern Art (MoMA), San Francisco Museum of Modern Art and has been included at the Venice Biennale International Exhibitions and the Biennale de Lyon.
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