Soleil et champ de cannes à sucre, Circa 1970

by Cesare Peverelli

Painting : oil

60 x 72.5 x 2.5 cm 23.6 x 28.5 x 1 inch


One of the last works available by this artist

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About the artwork


Unique work


Hand-signed by artist


Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Dimensions cm inch

60 x 72.5 x 2.5 cm 23.6 x 28.5 x 1 inch Height x Width x Depth


Brown floater frame

Artwork dimensions including frame

66 x 79 x 4 cm 26 x 31.1 x 1.6 inch






Artwork sold in perfect condition

Artwork location: France

The blazing sun shines on the sugar cane fields, a reminder of the artist's impressions of Cuba.
This work is framed in an American case in limed oak.

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About the seller

Les Atamanes • France

Vetted Seller

Imagine it at home

Cesare Peverelli, Soleil et champ de cannes à sucre

Cesare Peverelli

Italy  • 1922


Cesare Peverelli (Milan, 1922 - Paris, 2000)

Cesare Peverelli began his artistic career in 1939 when he attended the Brera Academy of Fine Arts and was a pupil of Achille Funi and Carlo Carrà. Through Ennio Morlotti, he came into contact with the Corrente group, preferring however to the chromatic lighting of the neo-cubism the tonalism of Giorgio Morandi. He tied himself to the Argine Numero magazine and was in 1946 among the signatories of the Oltre Guernica poster. In 1947, at the Italian art exhibition today. Turin Prize, he won the Grosso Award, met Cesare Pavese and began to collaborate with the Einaudi publishing house, and produced the cover of La nausea by Jean Paul Sartre (1948).

In search of an engagé painting not dominated by ideologies, he was one of the founders in 1946 of the Numero Pittura magazine and with Roberto Crippa he opened the Painting gallery, where in 1949 he held a solo show accompanied by a poem by Aimé Césaire translated by Salvatore Quasimodo. The interesting discovery of theFreud's reading and the study of ethnology brought him closer to surrealist poetry. He also experimented with the Informal with gestural and multi-material works characterized by a vigorous sign that looked to Georges Mathieu. Adherence to spatialism corresponded to the rejection of any idea of beautiful painting.

Following the suggestions of Marx Ernst and Victor Brauner, he deepened the exercise of the imagination, the works are born with his insects, real characters.

1959 saw the release of the first monograph on the artist signed by Emilio Tadini and Jean Selz and participation in the VIII National Art Quadrennial of Rome (1959) as well as the collective The new generation in Italian art, curated by Francesco Arcangeli, Giulio Carlo Argan and Marco Valsecchi at the Odyssia Gallery in Rome (1960).

In 1965, he exhibited at the VIII Biennale di San Paolo in Brazil and stayed in New York, where he started the Campo di vetro series followed by artwork inspired by the nature of Cuba, visited by the artist in 1966.

In the nineties, he devoted himself to drawing and ceramics, and his career continued with countless prizes, awards and participation in major artistic events.

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