Spazzio fratturato, 2005
Romano Zanotti  

Painting : acrylic · 60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch · Ready to hang

€1,800 1 800 €

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Shipped from: France

Delivery to: France , € 46

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cminch )

60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch Height x Width x Depth

Artwork dimensions including frame

70 x 70 x 4 cm 27.6 x 27.6 x 1.6 inch

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Credentials

Vetted seller since 2019

Discount

This seller offers discount when you purchase multiple artworks.

Description

Spazzio fratturato unfolds a sensitive geometry where planes break and reassemble. Zanotti uses fragmentation to open an inner, almost architectural space. The restrained yet intense colors structure the composition and give it a meditative depth.

Signed Romano Zanotti 2005, titled and dated on the back, origin documented.

Abstract

Geometric

Lines

Pattern

Red

Romano Zanotti, Spazzio fratturato
Italy  • 1934
177 followers

Presentation

Born in Moiodella Civitella, in the provence of Salerno (Italy) in 1934, Romano Zanotti began his artistic career in 1954. For more than 15 years he was permanently exhibited in the Gallery Denise Rene, as one of the leaders of the Kinetic movement with Vasarely, Agam and Soto.

Zanotti belongs to this spiritual family directed towards synthesis. Clarity of style, severity of construction, obsession with each gesture, and chromatic variations are combined with the grace of the composition.

Zanotti is influenced by the theme of veritable reality in painting and sculpture. He paints the canvas with infinite patience and, to him, painting is the space for illusion. He aims to reach the 'pure form', which hides behind the accidental appearance and the ephemeral perception of objects. He also strives to depict the 'true nature' of things. It is not enough for him to construct an ideal form; it is essential to acknowledge its appearance

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