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Steel Cinetic Object "Tetracono SM" by Bruno Munari for Danese Milano
About the Item
Steel and aluminium Cinetic Object "Tetracono SM" by Bruno Munari for Danese Milano
Paper manufacturer's label to underside ‘Bruno Mari 1965 Tetracono S.M. cinquanta esemplari numerati e firmati esemplare n. 28 Munari Edizioni Danese Milano’. This work is number 18 from the edition of 50. This kinetic sculpture is comprised of four rotating cones which alternate between green and red.
A painter, a sculptor, a graphic and product designer, an artist in the broadest sense, Bruno Munari has been one of the most independent and influent figures in the history of Italian and international designIn postwar years, after abandoning the late futurist groups, Munari moved towards artistic experimentations that were more and more connected to the realm of matter and machine: he gradually embark on an exploration of kinetic art, of the coexistence of organic and mechanic motion characterizing the work of Alexander Calder and several members of the Zero group. The discourse on form as something to explore was expressed in Munari’s powerful graphics — always oriented towards a direct and effective communication despite an apparently abstract use of color and geometry.
- Creator:Bruno Munari (Artist)
- Dimensions:Height: 6.5 in (16.51 cm)Width: 6.25 in (15.88 cm)Depth: 6 in (15.24 cm)
- Style:Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1965
- Condition:
- Seller Location:Montreal, CA
- Reference Number:1stDibs: LU875126622732
Bruno Munari
In his prolific career, Bruno Munari was known for various contributions to art, industrial design, film, architecture, art theory, and technology. Munari’s principles and beliefs were built upon his early involvement in the Futurist movement, which he joined at the age of 19 using the pseudonym “Bum.” During the 1930s, Munari began to move towards Constructivism, particularly with his kinetic sculptures, Useless Machines (begun 1933), meant to transform or complicate their surrounding environments. Throughout his career, Munari was captivated by both a sense of whimsy and the manipulation of artificial light. After World War II, Munari also developed radical innovation in graphics, typography, and book publishing, through the latter creating pieces he would call Useless Books.
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