Mario Schifano, Vedute interrotte, 1980s, Lithograph

Description

“vedute interrotte” interrupted views, 1988/1989

lithograph with silkscreen interventions
70x70 cm
signature in pencil on front
artist's embossed stamp on … more “vedute interrotte” interrupted views, 1988/1989

lithograph with silkscreen interventions
70x70 cm
signature in pencil on front
artist's embossed stamp on the front

bibliography
1989 mario schifano. Best seller, edited by giuseppe bonini with introduction by achille bonito oliva, torcular edizioni, snp, rep. 26

notes
artwork part of the collection ‘best seller: 31 graphic works by mario schifano’ edited by edizioni torcular
edition on handmade paper with torcular watermark by cartiera magnani of pescia
printer: egiziano piersantini
total edition of 331 copies (200 in arabic numerals, 50 in roman numerals, 21 in letters of the alphabet, 30 artist's proofs and 30 out of print)

this artwork, never before on the market, comes from a private collection and is beautified by an impressive original frame in natural wood, in almost perfect condition is also protected by glass.

certificate of authenticity issued by sabrina egidi official expert in italian furniture for the chamber of commerce of rome and for the rome civil courts.

mario schifano (homs 1934 - 1998) was an italian painter and filmmaker.
together with franco angeli and tano festa he represented a fundamental point of italian and european pop art.
perfectly integrated in the international cultural scene of the 1960s, he was reputed to be a prolific, exuberant and drug-addicted artist.
a keen student of new painting techniques, he was among the first to use computers to create works and was able to process images from the computer and transfer them onto emulsified canvases.
mario schifano was born in italian libya and after the end of the war returned to rome where, due to his restless personality, he left school early to follow in his father's footsteps who worked at the etruscan museum of villa giulia as an archaeologist and restorer.
thanks to this experience, he approached art, initially producing works that were influenced by informal art.
his first solo exhibition was at the galleria appia antica in rome in 1959.
in the late 1950s, he participated in the artistic movement scuola di piazza del popolo together with artists such as francesco lo savio, mimmo rotella, giuseppe uncini, giosetta fioroni, tano festa and franco angeli.
the group met at caffè rosati, a roman café then frequented by pier paolo pasolini, alberto moravia and federico fellini, among others, and located in piazza del popolo, from which they took their name.
in 1960, the group's works were exhibited in a group show at galleria la salita.
in 1961 he exhibited in a solo show at galleria la tartarugadi plinio de martiis in rome.
in the meantime, he had met, among others, his future lover anita pallenberg at the caffè rosati, with whom he made his first trip to new york in 1962, where he came into contact with andy warhol and gerard malanga at the factory.
during this period he participated in the new realists exhibition at the sidney janis gallery, a group show that included most of the young artists of pop art and nouveau réalisme, including andy warhol and roy lichtenstein.
he then had the opportunity to participate in the new york social scene, which led to his first experiments with lsd.[6]
on his return from new york, after participating in exhibitions in rome, paris and milan, he took part in the xxxii international art exhibition in venice in 1964.
during this period, his paintings defined as 'anemic landscapes', in which it is memory that evokes the representation of nature with small details or allusive inscriptions, and the reinterpretations of art history that later led to his famous pictorial works on futurism appear in embryo.
in rome, he met and frequented marco ferreri and giuseppe ungaretti to whom, already in his 80s, he offered an evening at peyote.
but one of the acquaintances of this period that most influenced him was that with ettore rosboch, with whom he formed a deep friendship, based on a shared passion for music. In those years, also thanks to their constant trips to london, the two became friends with the rolling stones, to whom they introduced anita pallenberg, who in 1965 began a relationship with brian jones, and years later became keith richards' partner.
in 1969, the flat in piazza in piscinula in rome that then belonged to schifano was used by ferreri as the set for the film dillinger is dead, on the walls of which some of the artist's paintings can be seen.
in 1969, the rolling stones dedicated the song monkey man to mario schifano.
in 1971 some of his paintings were included by achille bonito oliva in the exhibition vitalità nel negativo nell'arte italiana 1960/70.
many of his works, the so-called 'monochromes', present only one or two colours, applied on wrapping paper glued on canvas.
the influence of jasper johns was manifested in the use of numbers or isolated letters of the alphabet, but in schifano's way of painting analogies can be traced to the work of robert rauschenberg.
in a painting from 1960, one can read the word 'no' painted with drips of colour in large capital letters, as in a wall graffiti.
the influence of pop art can be seen in all the artistic production of mario schifano, who was fascinated by new technologies, advertising, music, photography and experimentation.
in particular, the artist's closest works to pop art are those of the 1980s.
among the most important works of this period are the propagande, a series dedicated to advertising brands (coca-cola and esso) in which we have a clear example of the conveyance of commonly used and easily recognisable images quoted in multiple ways or details of them, bicycles, flowers and nature in general (among the most famous series are the paesaggi anemici, vedute interrotte, l'albero della vita, estinti and campi di grano).
among his most recognisable and important works are certainly the emulsion canvases, daughters of those continuous photographic shots that accompanied his entire life, supports on which television images of daily consumption are reproposed, multiple and in a continuous flow with light pictorial interventions. This piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution less