ABSOLUTE ART sa , Stand n° AM208

Donna con bambino - Fernando Botero

Fernando Botero Donna con bambino
oil on canvas, 158 x 125 cm. 1995

Viola - Viola Rodolfo

Viola Rodolfo Viola
Oil on canvas, cm. 100 x 100, 2015

Verso l'Alto - Viola Rodolfo

Viola Rodolfo Verso l'Alto
Oil on canvas, 100x100 cm

Nero -  Agostino Bonalumi

Agostino Bonalumi Nero
Vinyl tempera and shaped canvas
60x70 cm.
Signed Bonalumi and dated 1967(on the
Painted in 1967, this work is registred in the
Archivio Bonalumi under n. 67-061, Milan

Rosso -  Agostino Bonalumi

Agostino Bonalumi Rosso
Vinyl tempera and shaped canvas
27 3/5 × 27 3/5 × 2 2/5 in
70 × 70 × 6 cm
signed Bonalumi (on the stretcher)
Painted in 1974, this work is registred in the
Archivio Bonalumi, Milan

Blu -  Agostino Bonalumi

Agostino Bonalumi Blu
Vinyl tempera and shaped canvas
51 x 45 ½ in.; cm. 129.5 x 115.6
Signed Bonalumi and dated 71 MI (on the reverse); signed Bonalumi and dated 71 (on the stretcher)
Painted in 1971, this work is registred in the Archivio Bonalumi, Milan, under number 71-011

Concetto spaziale, Attesa - Lucio Fontana

Lucio Fontana Concetto spaziale, Attesa
Waterpaint on canvas, red. Size 13.3 by 9.6 in; 33.6 x 24.3 cm., 1964

N3 - Wang  Yigang

Wang Yigang N3
Oil on canvas, Signed and dated

Private garden -  Incze Mozes

Incze Mozes Private garden
oil on canvas

Attractive -  Incze Mozes

Incze Mozes Attractive
oil on canvas

Untitled -  Luca Serra

Luca Serra Untitled

H15 - Wang  Yigang

Wang Yigang H15

S15 - Wang  Yigang

Wang Yigang S15

S16 - Wang  Yigang

Wang Yigang S16

H4 - Wang  Yigang

Wang Yigang H4

Untitled - Wang  Yigang

Wang Yigang Untitled

Tableau clous - Bernard Aubertin

Bernard Aubertin Tableau clous

La magnifica preda - Mimmo Rotella

Mimmo Rotella La magnifica preda

Tableau clous - Bernard Aubertin

Bernard Aubertin Tableau clous

Autunno - Giorgio de Chirico

Giorgio de Chirico Autunno

Ettore e Andromaca - Giorgio de Chirico

Giorgio de Chirico Ettore e Andromaca

Untitled - Angelo Brescianini

Angelo Brescianini Untitled

Untitled - Angelo Brescianini

Angelo Brescianini Untitled

Untitled - Alberto Biasi

Alberto Biasi Untitled

Occhi negli occhi - Alberto Biasi

Alberto Biasi Occhi negli occhi

31st A.O.T.T.4.D. (spin painting) -  Rupert Bound

Rupert Bound 31st A.O.T.T.4.D. (spin painting)

L'ego Mondrian - Matteo Negri

Matteo Negri L'ego Mondrian

Volume - Eduarda Dadamaino

Eduarda Dadamaino Volume

Zone Riflesse - paolo scheggi

paolo scheggi Zone Riflesse

Segno giallo - Turi Simeti

Turi Simeti Segno giallo

Bianco - Alberto Burri

Alberto Burri Bianco

S24 - Wang  Yigang

Wang Yigang S24

Rosso - Turi Simeti

Turi Simeti Rosso

N/A -  Giovanni Confortini

Giovanni Confortini N/A
18.11 x 23.62 in
acrylic on wooden board

Exhibiting Artists

Other Represented Artists

  • Giuseppe Amadio  (+)

    Biography : Giuseppe Amadio is an Italian painter born in Todi in 1944. He is known for his monochrome sculptural paintings, whose single colour surfaces are folded, stretched and curved for a dramatic effect. After attending schools of art and technique, he enrolled in design and graphic advertising courses, overseeing industrial scale signage. He also alternated his activity as a painter with a role as an interior designer. For over twenty years he worked vigilantly as a study technician for the late artist Piero Dorazio’s studio. His works draws inspiration from the shaped canvases of Agostino Bonalumi and his background in industrial design and Italian post-war modernism further influence his pieces.

    Artist's Documents:

    Also represented by:

  • Fernandez Arman  (+)

    Biography : Born in Nice in 1928, Armand Pierre Fernandez showed a precocious talent for painting and drawing as a child. (Inspired by Vincent van Gogh, he signed his early work with his first name only; he retained a printer’s 1958 misspelling of his name for the rest of his career.) The son of an antiques dealer and amateur cellist, the artist absorbed an intense appreciation for music, the art of collecting and the cultivation of discriminating taste from an early age. After studies at the Ecole Nationale des Arts Décoratifs in Nice, Arman decamped to Paris to study art history at the Ecole du Louvre. His work in these early years focused on abstract paintings inspired by the work of Nicolas de Staël. An avid reader, Arman sought inspiration through books and art reviews, as well as during frequent road trips throughout Europe with his artist friends from Nice, Claude Pascale and Yves Klein.

    Artist's Documents:

    Also represented by:

  • Bernard Aubertin  (+)

    Biography : Bernard Aubertin is known for his monochromatic red paintings. For Aubertin, the red paintings create a depersonalized, mediated experience: they symbolize fire and blood, while at the same time allowing him the space for anonymity. A member of the experimental Dusseldorf Zero Group—founded by Heinz Mack, Otto Piene, and Günther Uecker in 1963 —Aubertin reacted against Art Informel and Neo-Expressionism and was interested in developing a new art rooted in international collaborations, concepts, and ideas. French, 1934–2015, Fontenay-aux-Roses, France

    Artist's Documents:

    Artist's Objects:

    • Bernard Aubertin - Tableau clous Tableau clous
    • Bernard Aubertin - Tableau clous Tableau clous

    Also represented by:

  • Patrizia Benvenuto  (+)

    Biography : Patrizia Benvenuto, born in Turin on 21 November 1960, from a family that today could be defined as modern, mainly because of an emancipated mother who has always stimulated me in what is the passion of a life, painting . I attended the art school of Lello Burzio, a famous painter from Turin. I took courses in ceramics at the Hobby Ceram art school in Milan. Glass fusion courses, etching and engraving on glass, mosaic and faux Tiffany. A faux fresco course at the Sforza Castle in Milan. Followed by Massimo Bollani I experimented with various techniques of painting, oil, acrylic, watercolor, material and pencil techniques. My style is defined by the combination of mixed techniques that show my personality and emotionality, such as acrylic paint with colored pencils, white and black with material. I express with the abstractionism, stains, lines and geometrical figures and with determined colors and defined forms my energy, strength and conflictuality '.

    Artist's Documents:

  • alberto Biasi  (+)

    Biography : Exhibitor Services Team.Exhibitor Services Team.

    Artist's Documents:

    Artist's Objects:

    • Alberto Biasi - Untitled Untitled
    • Alberto Biasi - Occhi negli occhi Occhi negli occhi

    Also represented by:

  • Agostino Bonalumi  (+)

    Biography : Agostino Bonalumi (July 10, 1935, Vimercate, Kingdom of Italy – September 18, 2013, Desio, Italian Republic) was an Italian painter, draughtsman and sculptor. Bonalumi studied technical and mechanical drawing, and exhibited his first works at the “Premio Nazionale Città di Vimercate” (hors concours) in 1948, when he was just thirteen years old. He held his first solo show at the Galleria Totti, Milan, in 1956. In 1958 he began working with Enrico Castellani and Piero Manzoni, holding a group exhibition at the Galleria Pater, Milan, which was followed by further shows in Rome, Milan and Lausanne, the foundation of Azimuth magazine and his participation in exhibitions at the Azimut gallery. He started developing the idea of what he would call “pittura – oggetto” (painting-object), following the idea to go beyond the canvas started by their mentor Lucio Fontana. In 1959 he held his first solo show outside Italy in Rotterdam. In 1960 he was one of the founders of the international Nouvelle École Européenne (NEE) movement in Lausanne and his solo exhibition “Agostino Bonalumi. Recent Paintings, Sculptures and Drawings” opened at the New Vision Centre Gallery in London. Arturo Schwarz began collecting his works and, in February 1965, organised a Bonalumi exhibition in his gallery in Milan. He had strong links with the German art scene, thanks to the interest of Udo Kultermann in his work (since 1960) and his collaboration with the Galerie M.E. Thelen in Essen. He also had assiduous contacts and links with the international Zero movement (both in the Netherlands and Germany), documented by major exhibitions such as “Zero” in London, 1964, and the touring exhibition “ZERO Avantgarde”, which began in Lucio Fontana’s studio in Milan in 1965. 1965 marked the start of a long period of collaboration with Renato Cardazzo, director of the Galleria del Cavallino in Venice and the Galleria del Naviglio in Milan. He was Bonalumi’s sole agent for many

    Artist's Objects:

    •  Agostino Bonalumi - Blu Blu
    •  Agostino Bonalumi - Rosso Rosso
    •  Agostino Bonalumi - Nero Nero

    Also represented by:

  • Fernando Botero  (+)

    Biography : Fernando Botero, (born April 19, 1932, Medellín, Colombia), Colombian artist known for his paintings and sculptures of inflated human and animal shapes. As a youth, Botero attended a school for matadors for several years, but his true interest was in art. While still a teenager, he began painting and was inspired by the pre-Columbian and Spanish colonial art that surrounded him as well as by the political work of Mexican muralist Diego Rivera. His own paintings were first exhibited in 1948, and two years later, in Bogotá, he had his first one-man show. While studying painting in Madrid in the early 1950s, he made his living by copying paintings housed in the Prado Museum—particularly those of his idols at the time, Francisco de Goya and Diego Velázquez—and selling them to tourists. He spent much of the rest of the decade studying the art treasures of Paris and Florence. Throughout the 1950s Botero began experimenting with proportion and size. When he moved to New York City in 1960, he had developed his trademark style: the depiction of round, corpulent humans and animals. In these works he referenced Latin-American folk art in his use of flat, bright colour and boldly outlined forms. He favoured a smooth look in his paintings, eliminating the appearance of brushwork and texture, as in Presidential Family (1967). In works such as this, he also drew from the Old Masters he had emulated in his youth: his formal portraits of the bourgeoisie and political and religious dignitaries clearly reference the composition and meditative quality of formal portraits by Goya and Velázquez. The inflated proportions of his figures, such as those in Presidential Family, also suggest an element of political satire, perhaps hinting at the subjects’ inflated sense of their own importance. His other paintings from the period include bordello scenes and nudes, which possess comic qualities that challenge and satirize sexual mores, and portraits of families, which possess a gentl

    Artist's Objects:

    • Fernando Botero - Donna con bambino Donna con bambino

    Also represented by:

  • Botero Fernando  (+)

    Biography : Fernando Botero, (born April 19, 1932, Medellín, Colombia), Colombian artist known for his paintings and sculptures of inflated human and animal shapes. As a youth, Botero attended a school for matadors for several years, but his true interest was in art. While still a teenager, he began painting and was inspired by the pre-Columbian and Spanish colonial art that surrounded him as well as by the political work of Mexican muralist Diego Rivera. His own paintings were first exhibited in 1948, and two years later, in Bogotá, he had his first one-man show. While studying painting in Madrid in the early 1950s, he made his living by copying paintings housed in the Prado Museum—particularly those of his idols at the time, Francisco de Goya and Diego Velázquez—and selling them to tourists. He spent much of the rest of the decade studying the art treasures of Paris and Florence. Throughout the 1950s Botero began experimenting with proportion and size. When he moved to New York City in 1960, he had developed his trademark style: the depiction of round, corpulent humans and animals. In these works he referenced Latin-American folk art in his use of flat, bright colour and boldly outlined forms. He favoured a smooth look in his paintings, eliminating the appearance of brushwork and texture, as in Presidential Family (1967). In works such as this, he also drew from the Old Masters he had emulated in his youth: his formal portraits of the bourgeoisie and political and religious dignitaries clearly reference the composition and meditative quality of formal portraits by Goya and Velázquez. The inflated proportions of his figures, such as those in Presidential Family, also suggest an element of political satire, perhaps hinting at the subjects’ inflated sense of their own importance. His other paintings from the period include bordello scenes and nudes, which possess comic qualities that challenge and satirize sexual mores, and portraits of families, which possess a gent

    Also represented by:

  • Rupert Bound  (+)

    Biography : Rupert Bound who lives in Aldbourne, formerly worked as an assistant to Damien Hirst, the artist notorious for his sheep pickled in formaldehyde. During his time working with Hirst, Bound, 40, this year, helped in producing spin paintings, formaldehyde sculptures and he helped Hirst with some of his designs and technical drawings.

    Artist's Documents:

    Artist's Objects:

    •  Rupert Bound - 31st A.O.T.T.4.D. (spin painting) 31st A.O.T.T.4.D. (spin painting)

  • Angelo Brescianini  (+)

    Biography : Angelo Brescianini was born Palazzolo sull'Oglio in 1948, the last of four children. At the age of 12 he participated, with other artists, in his first collective exhibition. He attended schools for mechanical designer. In the late sixties, he made his first bronze sculpture, currently exhibited at the "Enrico Fermi" School Institute in Palazzolo. Also in 1968, he carried out military service in Verona and in his free time he continued to paint. These are the years of his first "shots" on rusty metal plates. He participated in the Biennial of Padua with a painting entitled "Painful waiting" (the title is perhaps related to waiting for the long-awaited leave), with which he received his first recognition. At the end of the military service, he was hired as an employee in a metalworking company, as a cast iron, bronze and aluminum cast operator. In the '70s he interrupted his collaboration with the foundry, deciding to open a workshop for cabinet makers. His father was considered one of the best carpenters in the country and Angelo, since he was a child, has lived the fascination of work on fine woods, breathing and learning its essence. He began designing and producing objects of art with the lathe and other tools, from the late seventies his faithful companions working day and night. In this period he participated in art fairs and collectives. He met the architect Luca Pastorio, son of the painter Ezio, with whom he collaborated on several furniture projects. In these years he became part of the artistic staff of the "Spirale Arte" of Milan. Here he began to design and build wooden objects where precious metal plates, bas-reliefs, plaques of famous authors such as Cassinari, Fiume, Munari, Bonalumi and Kodra are set. Over time he has abandoned the collaboration to devote himself to interior design both as a designer and as a builder He worked day and night and the laboratory became his whole world. The essence of the various woods spreads in the air, the pieces of t

    Artist's Documents:

    Artist's Objects:

    • Angelo Brescianini - Untitled Untitled
    • Angelo Brescianini - Untitled Untitled

  • Alberto Burri  (+)

    Biography : Alberto Burri was an Italian painter and sculptor considered a key figure in Post-War art and such artistic movements as Neo-Dada, Nouveau réalisme, postminimalism and Arte Povera. In one of his very rare statements, Burri claimed that the critics’ words, as well as his own, were of no use in offering a description of his artworks, affirming that its only real key strength was the formal balance that poor and industrial materials were surprisingly able to give. Italian, 1915–1995, Città di Castello, Italy, based in Rome, Italy

    Artist's Documents:

    Artist's Objects:

    • Alberto Burri - Bianco Bianco

  • Giovanni Confortini  (+)

    Biography : Born in Brescia, born in 1960. He completes his scholastic obligations and works for years, as an accountant, in private studies and companies in Brescia, always cultivating his passion for pictorial art. 1989 will be the year in which, by chance, he discovers the "trompe l'oeil" through furniture magazines. He is fascinated by putting later his artistic skills that are better identified in painting. Soon the hobby turns into real work following the advice and work requests from friends who are in turn fascinated by the growing skill and the particular creative imagination. Sensitivity to the particular is the basic element for the artist's works, which he can see beyond his subject; this can never go unnoticed, involving the user of the work in a deception, given the hyper-reality of his constructions, or stimulating metaphysical sensations to the most attentive and intrigued spectator Beauty animates the forms created by Confortini, an author who succeeds in giving value to that value that overcomes the sense that could justify the work, its meaning, to become, the work itself, the signifier, an absolute autonomous concept valid for the mere fact that it pleases only to see it. The use of color is total and refined at the same time; the balance in the composition refers to experiences of other times, the harmony of the final result is satisfying. The technique used is mainly that of acrylic on canvas or on canvas panels of various sizes. From the ambit of his personal gallery in the center of Brescia and the Brescian salons, the artist has moved, due to the particular preference of light and colors, as well as for a Mediterranean research, in the most unspoiled places of the islands of southern Italy ( Pelagie) where he is following an in depth experience "en plein air" impossible at other latitudes and in keeping with his free and determined spirit that brings us back to the convincing appeal of painters of the past centuries.

    Artist's Objects:

    •  Giovanni Confortini - N/A N/A

  • Dadamaino  (+)

    Biography : DADAMAINO Dadamaino (born Eduarda Emilia Maino), a self-taught artist and a member of the Milanese avant-garde, had an incredibly rich and eclectic career. In the late 1950s, she received attention for her series of blackand- white canvases, what she called “Volumes,” that featured large punctured holes, much like Lucio Fontana’s “Buchi” (“Hole”) paintings. At this time, she was a member of Piero Manzoni's Azimuth Gallery in Milan, which was connected with Germany’s Group Zero, the Dutch ,Group Nul and Group Motus in France, though she later went on to join the Nouvelle Tendence movement whose members included , Bruno Munari, Getulio Alviani and Jesus Rafael Soto. In the 1970s, Dadamaino explored Op Art in a series of psychedelic optical paintings, and in the 1980s she developed original alphabet-like signs that she repeated obsessively in small, textlike formats on canvas. One of Italy’s most progressive artists, Dadamaino was twice included in the Venice Biennale. Italian, 1935–2004, Milan, Italy, based in Milan, Italy

    Artist's Documents:

    Artist's Objects:

    • Eduarda Dadamaino - Volume Volume

  • Giorgio de Chirico  (+)

    Biography : Giorgio de Chirico, (born July 10, 1888, Vólos, Greece—died Nov. 19, 1978, Rome, Italy), Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting. After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture. In 1915 de Chirico was conscripted into the Italian army and stationed at Ferrara, Italy. There, he was able to continue making art and practiced a modification of his earlier manner, marked by more compact groupings of incongruous objects. Diagnosed with a nervous condition, he was admitted into a military hospital, where he met Carlo Carrà in 1917; together the two artists developed the style they named Metaphysical painting. In de Chirico’s paintings of this period, such as the Grand Metaphysical Interior (1917) and The Seer (1915), the colours are brighter, and dressmakers’ mannequins, compasses, biscuits, and paintings on easels assume a mysterious significance within enigmatic landscapes or interiors. The element of mystery in de Chirico’s paintings dwindled after 1919, wh

    Artist's Documents:

    Artist's Objects:

    • Giorgio de Chirico - Autunno Autunno
    • Giorgio de Chirico - Ettore e Andromaca Ettore e Andromaca

  • Lucio Fontana  (+)

    Biography : was an Italian painter, sculptor and theorist of Argentine birth.[1] He is mostly known as the founder of Spatialism.

    Artist's Objects:

    • Lucio Fontana - Concetto spaziale, Attesa Concetto spaziale, Attesa

    Also represented by:

  • Marcello Lo Giudice  (+)

    Biography : Born in Taormina (Sicily), lives between Milan, Paris and Noto. Graduated in Geology at Bologna University, he attended the Academy of Fine Arts in Venice studying under three protagonists of italian art of the second part of the twentieth century: Emilio Vedova, Giuseppe Santomaso e Virgilio Guidi. After a quick experience in Conceptual, during the 70s, -using wax, strawberries, smoke and burned paper- he began an original research that brings him to develop a painting style «where light's energy blends with metamorphism of the material to create remote geological views» as the french critic of Informal Pierre Restany wrote about him. For the catalogue of a personal exhibition held at Galleria del Naviglio in Milan, the critic Olivier Meessen wrote: «His “sedimentary” painting is structured by several intervents on the canvas, in which colors, oils and pigments are spread with thick coatings, layed one upon the other, buried and then ri-emerged on the surface in various phases (with spatula's scratchings, abrasions, removals, levelings). Matter gives shape to heavy and matt bodies that are going to enliven the iridescent pigments. The lines upon the surface developes interlaced designs, crossroads, interferences, bridges, pathways, canals, blind alleys, mirages.» During the years he continues the collaboration with the Galleria del Naviglio in Milan. Rapidly recognised as an artist with international spirit and extent, he exhibited in 1987 at the Samuel lallouz Gallery of Montreal; not even three years later he he exhibited in Sweden. In 2003 he arrived even in Muscat, in the Sultanat of Oman. A stronger and more enduring relationship is established with France, where the artist exhibit his works more and more specially in the last years. His painting style has been analized also by Achille Bonito Oliva, who curated his personal exhibition at MUDIMA Foundation in Milan and selected him for the collective “Sublime's ways” which took place in 1998 in Pale

    Artist's Documents:

    Also represented by:

  • Mozes Incze  (+)

    Biography : Mózes Incze was born in Baraolt, Transylvania. At the age of ten he was already determined to become an artist. Between 1990 and 1994 he studied mural painting at the Art Lyceum in Tirgu Mures. In 2000 he graduated as a painter from the Hungarian University of Fine Arts, where he studied under Gábor Nagy's guidence. In 1997 he founded the popular Élesd Workshop in Transylvania with his friends. In 1996 he was the recipient of the Pannoncolor, and in 1997 the Bertalan Székely award. In 2009 he was given the Mecenatura award by HM-MMKI, and he was also awarded by the Autumn Salon in Hódmezővásárhely. In 2010 he won the main prize of HM-MMKI Mecenatura, and received the Koller Award in 2011. Mózes Incze paints using traditional oil on canvas technique. He feels that this technique, in its colors and manageability, gives him the flexibility that helps his audience to internalize his depicted themes. As a painter, he focuses on questions of human existence. Figural symbolism is dominant in his works. His absolute precision of body and character representation, his familiarity with the anatomy of flora, fauna, and landscape, his spatial representation and his depicted plasticity of materials make Incze's works extraordinarily characteristic and unique. His symbolism is particularly closed, leading the viewer into a world of suspicions, where the exceptionally refined expression of human situations, contacts, and relationships give the spectator a sense of timelessness. The depiction of digital tools in the seemingly biblical space serves as criticism of societal consumerism.

    Artist's Documents:

    Artist's Objects:

    •  Incze Mozes - Private garden Private garden
    •  Incze Mozes - Attractive Attractive

  • Matteo Negri  (+)

    Biography : Matteo Negri born in S. Donato Milanese (MI) nel 1982. After graduating in sculpture at the Accademia di Belle Arti di Brera - Milan in 2003, the artist created numerous installations for exhibitions at art galleries, public spaces and art fairs in Italy and abroad including Paris, Genoa, Brussels, Milan, Rome, Singapore, Honk Kong, Miami, London, Basel and Berlin. His artistic practice uses materials from stone to ceramic, resin and plastic, all in expressive pop colors. One series by the artist is based on a subversion of the idea of a depth-charge. Using real, decommissioned, depth-charges and mines, he explores how bright colors and unexpected settings can turn a destructive weapon into something resembling a large gemstone. Negri's submarine jewels have a hypnotic seduction and shape which makes the viewer forget the violence of their actual function. This clear split between form and meaning is also something one sees elsewhere in popular culture, where clever marketing can turn even the most ugly or boring products into curious objects of desire. A second series starts from a close inspection of the children's building material Lego. In this series, Negri uses Lego as a metaphor for children's inherent desire to build and create their own personalities. Yet the freedom and self-expression Lego appears to offer, is quickly funneled into archetypical, linear forms which are compatible with the geometry of the Lego system. In Negri's work, the system itself is subverted, and self-determination is given the space to play itself out. Matteo Negri currently lives and works in Milan.

    Artist's Documents:

    Artist's Objects:

    • Matteo Negri - L'ego Mondrian L'ego Mondrian

  • Jackson Pollock  (+)

    Biography : Jackson Pollock, one of the most influential abstract expressionists, famous for his large ‘drip’ canvases, was born in Wyoming in 1912. Pollock grew up to be rebellious and irascible but at the same time highly introverted; even as a boy, he indulged in risky, self-destructive behavior such as excessive drinking. In 1928, he lived in Los Angeles, where he attended the Manual Arts High School and learned about European modernism. Pollock moved to New York in 1930 to study at the Art Students League with the American scene painter Thomas Hart Benton, whose principles of rhythmical composition influenced Pollock’s mature style. In 1937 the painter and theorist John Graham introduced Pollock to the works of Picasso and the ideas of psychologist Carl Jung. Under the influence of Picasso’s cubist-surrealist paintings and Jung’s concept of the collective unconscious, Pollock began to develop a new pictorial approach. During the 1930s Pollock became involved in the Works Progress Administration’s Federal Art Project (WPA/FAP) as a mural assistant to the Mexican painter David Alfaro Siqueiros. Chronic emotional problems led Pollock to seek psychoanalytic treatment in 1939, the first of many ventures into psychoanalysis. Prior to this, he had met the abstract expressionist painter Lee Krasner, whom he later married. Pollock, at his first one-person exhibition in 1943 at Peggy Guggenheim’s Art of This Century Gallery, New York, impressed critics with the raw painterly quality of his canvases. Soon after, the Museum of Modern Art was the first museum to acquire one of his works. When he left Manhattan for a farmhouse on Long Island in 1945, he also came to a stylistic turning point, as he began executing his highly acclaimed drip paintings (1947–1950). Pollock’s technique of pouring and dribbling paint with brushes and sticks onto large canvases created dynamic pictorial rhythms and energetic curvilinear designs. These paintings were widely publicized and pur

    Artist's Documents:

    Also represented by:

  • Viola Rodolfo  (+)

    Biography : Nasce nel 1937 a Milano dove inizia a dipingere giovanissimo ed esordisce nel 1963 con la sua prima personale[1] alla Galleria Schettini. Dalla fine degli anni sessanta intraprende la ricerca di un ideale linguaggio universale, attraverso l’unione delle arti, capace di raggiungere l'essenza più pura dell'uomo. Questo concetto, si definirà nel 1971 con la stesura del Manifesto dell'Universalismo, a cui prenderanno parte Giuseppe Marotta, Peter Maag, Carlo Mauri e Franco Zeffirelli. Il Comune di Montecatini scrive un altro passo di questo percorso, con l’istituzione, nel 1974, del "Museo dell'Universalismo: da Rodolfo Viola al futuro"[2], ora diventato Museo d'arte contemporanea (MO.C.A.)[3] con sede nel Palazzo Comunale che tuttora ospita i suoi quadri. Partecipa allo studio e alla diffusione dei principi dell’universalismo anche l’amico Silvio Ceccato. Il 7 febbraio 1979 riceve il premio internazionale “La Madonnina”[4] , insieme al poeta Giovanni Testori, all'industriale Bruno Buitoni e al premio Nobel Godfrey Hounsfield. Profondamente legato alla sua città, nel 1986 è tra gli artisti chiamati a realizzare un’opera per la celebrazione del 6° Centenario della fondazione del Duomo di Milano, opera che sarà poi scelta per rappresentare il manifesto celebrativo.[5] Tra i critici che scrivono della sua pittura figurano André Verdet (studioso di Picasso) e Pierre Restany (fondatore del Nouveau Réalisme) che presentano due delle monografie a lui dedicate. Significativa, nel 1969, l’emissione da parte della Repubblica di San Marino di una serie di francobolli a lui dedicata[6], riproducenti tre sue opere (veduta del monte Titano, veduta del molo di Riccione, veduta del molo di Rimini)[7], ad oggi ospitate nel Palazzo del Governo di San Marino. Nel 2007 viene istituita la Fondazione Rodolfo Viola che promuove e sostiene attività nel campo delle arti incentivando lo scambio artistico tra diverse matrici culturali. Le sue opere sono state espos

    Artist's Objects:

    • Viola Rodolfo - Verso l'Alto Verso l'Alto
    • Viola Rodolfo - Viola Viola

  • Mimmo Rotella  (+)

    Biography : Mimmo Rotella, Italian artist (born Oct. 7, 1918, Catanzaro, Italy—died Jan. 8, 2006, Milan, Italy), was best known for his extravagant “double décollages,” which he crafted by ripping posters (particularly movie advertisements) off exterior walls, attaching the fragments to canvases, and then tearing off smaller pieces from the posters to create colourful, often amusing, collages. He was the only Italian artist formally linked to the French Nouveau Réalistes artists, with whom he exhibited in the 1960s. Rotella studied art in Naples and held a Fulbright scholarship (1951–52) at the University of Missouri at Kansas City, where he was admired for his experimental “phonetic” poetry. He returned to Italy in 1953 and abandoned painting for his signature décollages and assemblages, into which he incorporated textiles and other materials. Later he experimented with acrylic paint and photographic elements. Rotella lived in Paris in the 1960s and ’70s, but in 1980 he settled in Milan.

    Artist's Documents:

    Artist's Objects:

    • Mimmo Rotella  - La magnifica preda La magnifica preda

    Also represented by:

  • Bruno Saba  (+)

    Biography : Born in Rome in 1940, Bruno Saba was trained at the school of Domenico Purificato, Renato Guttuso and Luigi Montanarini. In the mid-1960s, the theater and television set designer experience precedes that of teaching, which turns out to be his true professional vocation. In those years Saba painted with great commitment that in 1960 he presented his first personal in Rome (Galleria Le Jardin des Arts).Since 1965 he has taught artistic education in middle schools, first in the Abruzzi, where the novelty of the single high school stimulates him both in the teaching and in the social sense in contact with a still very rural environment; The landscapes of Fucino and Marsica sediment in its memory and will have decisive part in its painting. The years preceding the controversy are years of social and political turmoil, during which Saba carries out activities of cultural animation rooted in the community of Avezzano, where he mainly operates. The activity of teaching continues from 1974 to Como, where he moved, and where he contacts the Lariani artists. Years in which criticizes the history of 20th-century art (think of Giulio Carlo Argan), and also a Como valorizes the work of abstractists of the 1930s (with Luciano Caramel), some of which are still in business '' Geometric Extractism of Comic Root Painters, Rho, Galli leaves Saba's indifference, which nevertheless will never be aligned on that side. A Como in those years still perceived a fracture between figurative and non-figurative artists, a fracture he had assumed in previous ideological connotations, but Bruno Saba is among those who go beyond. Guttuso's student, in his painting, has never lost contact with reality 'visible, as experience data, without however fall into the trap of the forced "MIMESIS" of "social" realism painting. Rather, many instances of the avant-garde of the twentieth century have paved the way for it to operate on the canvas, without it being possible to label a painting as an expressionist,

    Artist's Documents:

  • Paolo Scheggi  (+)

    Biography : Paolo Scheggi was a pioneer in the practice of approaching paintings as objects, creating layered monochromatic works that emphasized the picture plane’s physicality over its representational potential. At a young age, his sheet metal assemblages and collages attracted the attention of art critic Germano Celant and artist Lucio Fontana. He later received international acclaim for his “Intersuperfici” and “Strutture Modulari” works, which feature solidly colored canvases or sheets of cardboard dotted with small elliptical apertures. Placed atop one another, each layer exposes the one beneath it. Scheggi’s work has been included in multiple Venice Biennales, both during and immediately after his short life. He was briefly associated with the Nul and Zero groups and the New Tendencies movement, all of which reacted against the dominant postwar expressionist movements. Italian, 1940–1971, Settignano, Italy, based in Rome, Italy

    Artist's Documents:

    Artist's Objects:

    • paolo scheggi - Zone Riflesse Zone Riflesse

  • Luca Serra  (+)

    Biography : Luca Serra was born in Bologna in 1962. After graduating from art school in 1984 he traveled to southern Spain, experience that will result in a strong suggestion. Encouraged by Giovanni d'Agostino he enrolled at the Accademia di Belle Arti. Simultaneously working in the advertising industry and publishing and in 1986 was a founding member of graphics agency. He works occasionally for several years as a computer consultant, publishing and advertising. In 1988 he graduated from the Academy and travels between Rome and Madrid. He begins to think about the painting and to paint. During the realization of a series of small lead sculptures, his attention moves from the original work to the plaster casts used for melting, and in particular to the relationship between the materials used to execute and detach them, chalk and graphite, and especially to their mutual modification. From this analysis comes a series of plaster and graphite works, exhibited in 1991 in the exhibition "Abîme", Galleria Aperta, Modena. The painting here subjected to a sculptural technique, the mold process, is intended as a relationship between the idea and its final result, the intention of doing and what actually gets produced, the process that engages between the idea and its realized form, concepts obliged to contradiction. " ... To make that an image - the painting - were not just a esthetic composition but be converted into history, into time, occurrence, to transform the abstraction of a image and submit it to a real, concrete experience, I finally adopted a procedure, a summary of various reactions that had caught my attention .... " This interest in painting as the ratio between the idea and its final result, as a alchemic relationship between elements and the inability to completely control them, will remain a constant of his work in subsequent years. In the first cycle of works on canvas “Pittura Senza Qualità Proprie” (Painting Without Own Qualities), the artist experiments with n

    Artist's Documents:

    Artist's Objects:

    •  Luca Serra - Untitled Untitled

  • Turi Simeti  (+)

    Biography : TURI SIMETI A member of the mid-20th-century Minimalist movement known as Group Zero, Turi Simeti is an engineer of light, color, and geometry. His monochrome shaped canvases are examples of pure formalism that helped pioneer the now wellestablished idea that paintings can be three-dimensional art objects. Based in Milan, the still active artist is particularly known for his use of oblong ellipses. Subtle and often understated, his oeuvre is always dynamic in its textured surfaces, saturated colors, and masterful shadow work. Italian, b. 1929, Alcamo, Province of Trapani, Italy, based in Milan, Metropolitan City of Milan, Italy

    Artist's Documents:

    Artist's Objects:

    • Turi Simeti - Rosso Rosso
    • Turi Simeti - Segno giallo Segno giallo

    Also represented by:

  • Wang Yigang  (+)

    Biography : WANG YIGANG Assigned to the Shenyang Normal Institute in 1986 following the acquisition of acquisition of a certificate in oil painting from the Lu Xun Academy of Fine Arts Has worked as specially-appointed researcher of Chinese National Academy of Art Currently the curator of Luxun Art Gallery professor SOLO 2017 "disinterested", Villa friede Art Museum, Bonn, Germany 2017 "color bloom", Sai Gallery, Seoul, Korea 2016 "The transformation of the flow," Shannon Gallery, Paris, France 2016 "no", Asia Art Center in Paris, France 2016 "Anti Abstract: writing process, the body has become a new way." Art Museum Xi'an 2013 "is not about distance," Laguna Art Museum Shenyang Long 2012 "between color and emotion", Soka Art Center, Beijing, China 2010 "from West to East", Huashan Creative Cultural Park, Chinese Taipei "Wang Yi Gang retrospective abstract" art, Today Art Museum, Beijing, CHINA 2008 "This is not Chinese landscape", Singapore "From Dusk to this doctrine is not Chinese landscape," Fahrenheit Gallery, Shanghai, China 2007 "We are all responsible", China, Shanghai "Made in America", Xin Dong Cheng Art Space, Beijing, China "Offhand," University of Maryland Art Museum, United States 2004, "Chinese landscape", double vision galleries, United States, California 2003 "under the red flag," Double Vision Gallery, United States, California 1996 "Only Art Wang Yi Gang", Red Gate Gallery, Beijing, China 1994. "Only Art Wang Yi Gang", Red Gate Gallery, Beijing, China 1992 "in the early nineties - Wang Yi Gang Exhibition", China Central Academy of Fine Arts Gallery, Beijing, China group exhibition AWARDS 1985 Award of Encouragement National Junior Art Exhibition 1991 Bronze in the Art Exhibition in Honor of the 70th Anniversary of CPC 1992 Award of Nomination of the Guangzhou Biennial 1993 Academic Award of China Oil Painting Biennial 2007 Award of Outstand Contributions in Contemporary Art by Asian College of USA Born in 1961 in Qiqihar,Heilongjiang Province

    Artist's Documents:

    Artist's Objects:

    • Wang  Yigang - S24 S24
    • Wang  Yigang - H15 H15
    • Wang  Yigang - S15 S15
    • Wang  Yigang - S16 S16
    • Wang  Yigang - H4 H4
    • Wang  Yigang - Untitled Untitled
    • Wang  Yigang - N3 N3


Absolute Art opens its exhibition space in 2015, after a long experience in the international art trade, with the intent to promote modern and contemporary art at the center of Europe.
Lugano infact, not only geographically is located in a central position with respect to Europe, but above all we could define it as the beating heart of the culture and economy of the Old Continent.
Immediately Absolute Art would not be representative of a single current or identify a new trend, but it has always focused on the quality of the works proposed, believing in art and in the artist as a mystic and visionary craftsman who produces not a good material, but the reproduction of emotions of all of us.
From the first show, in which he staged works of the second Italian war, including Fontana, Bonalumi, Scheggi, Manzoni etc. in solo exhibitions by emerging artists Which will embark in the coming years on the international market.
For the ArtMiami Fair we would like to expose conceptual artists, privileging the Italians but without eliminating international artists anyway. Our project dates back to the 1960s and travels in works of art coming to the present with the artists represented by our gallery


ABSOLUTE ART sa w:  http://www.theabsolute-art.com Raffaele Martinelli Alda Lotrecchio Valerio Greco Luigi Martinelli Dario Martinelli Liliana Bressanelli