I Vitelloni, 1977
Print : lithography · 47 x 64 cm 18.5 x 25.2 inch
One of the last works available by this artist
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 111
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
About the artwork
Type
Print : numbered and limited to 120 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
47 x 64 cm 18.5 x 25.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2015 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
The unique lithography in the world hand-signed by Federico Fellini.
Original Lithograph from the original storyboard drawn in 1953 by Federico Fellini.
Technique : Lithography
Date of edition : 1977
Size : 47,5 x 64,5 cm / 18.7 x 25.4 in
Paper : Velin d'Arches 270g.
Justification: Numbered & Hand-Signed in pencil + " Roma 77" in pencil
Certificate of authenticity.
Perfect condition / No folds, no marks or tracks of framing.
Presentation
Marked by neorealism in the beginning, Fellini's work evolved, in the 1960s, toward a unique style, close to European modern cinema. His films are characterized by multiple themes and rich narratives, an intentional artificiality in directing, and no limits between dreams, imagination, hallucinations and reality.
Federico Fellini always doodled. When he arrived in Rome in 1939, he intended to become a cartoonist before discovering cinema. From Fellini's imagination and dreams emerge dwarves, clowns, polar bears, radioactive fish, and friends, including Visconti and Picasso, as well as apocalyptic nightmares of plane crashes, floods, and collapsing buildings. He also uses drawings for his films, to give indications to his collaborators, or to materialize his thoughts before they become moving images.
As he says himself: "for me it is a way to loook films in the eyes". His drawings are pre cinematographic visions through their spontaneity. The strength of his images in his movies is informed by the agressiveness of journalistic graphic images. His sketches are taken live at the instant he has the vision. If the script is the literary and verbal phase of the film, the drawings translate an expression, their general idea. They are indications to his collaborators such as set designers, make-up artists, costume designers.
Reviews from our customers
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