Tino Stefanoni, Vase of Oranges, 1997, Screen Print

Description

Tino Stefanoni

18 strokes color screenprint on 400 g Fabriano paper (painting)
published edition
printing house: Seriarte
signed and numbered … more Tino Stefanoni

18 strokes color screenprint on 400 g Fabriano paper (painting)
published edition
printing house: Seriarte
signed and numbered by the artist on the front
n./150 ex

BIOGRAPHY Tino Stefanoni (06/07/37 - 02/12/17), born in Lecco, studied at the Beato Angelico Art School and at the Faculty of Architecture of the Polytechnic from Milan. He has been present in the international art world for more than fifty years. Tino Stefanoni's work, although not belonging strictly to that of conceptual art, has in fact always developed in the same area of ​​research. He has always looked at the world of everyday things and objects, proposing them in their most disarming obviousness, like tables in a visual primer or pages of an instruction booklet where images replace words. Unlike the animal world and the vegetal world which are not pertaining to man, the world of things is instead the only tangible sign of his existence, and therefore of his property, a trace of his thought and his history where they can be create art and beauty that is not the art and beauty of nature. In the research, the interest in wanting to present things rather than in wanting to represent them and, at the same time, in covering them with subtle irony and magic drawn from an aseptic operation as in a lucid dream, so to speak, which can bringing together elementality and mystery, two elements that by their nature are not at all close but close in counterpoint. Even in today's paintings, where the canons of classical painting (in the strict sense of the term) are deliberately exasperated in favor of a pictorial didactic (light, chiaroscuro, color design), the world of things always reveals itself which, while remaining the resolving moment of his work, is naturally loaded with metaphysical meanings, the same meanings of the paintings with the black and shaded lines definable as sinopies of the previous ones. The enchanted disenchantment - Painting as an object - The state of facts - Objective irony - Illusion revealed - Platonic loves - Emoticons - Metaphysics of everyday life - Irony, poetry and so on - Magical conceptuality - The enigma of the obvious - Painting of the mind, are some significant titles of texts written on his work. The false enchantment, therefore, of his apparently classical painting, disguises the lyrical-conceptual moment of his work which is entirely rigorously rational and, paradoxically, sentimentally rational, to the point of wanting to underline that painting is nothing more than an object for the mind like the chair, the table or the bed are objects for the body. 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