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Primo casolare, 2009

Tino Stefanoni

Print : Screen Print, print 19.7 x 55.1 x 0 inch


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Tino Stefanoni, Primo casolare

About the artwork

Artwork sold in perfect condition

Color silkscreen Hand signed and numbered by the artist on the front No. Of 150 specimens Exceptional quality work, in perfect condition and kept intact in the unframed protective folder. Complete with certificate of authenticity and origin (signature and dry stamp of the publisher with photographic reference and numbering). Images of numbered and / or framed items are for illustrative purposes only. The delivered specimen may have a different numbering depending on availability. Available for any information and details.
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About the seller
Stefanini Arte • Riccione, Italy

Vetted Seller

Print: Screen Print, print
Dimensions cm inch
19.7 x 55.1 x 0 inch
Not framed
Numbered and limited to 150 copies
1 copy available
Work sold with an invoice from the gallery and a certificate of authenticity
Hand-signed by artist

Dark blue







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The artwork is available for pickup from the gallery in Riccione, Italy or can be delivered to the address of your choice within 2 to 3 weeks after validation of your order. The work is insured during transport, so it's risk-free.
Origin: Italy Find out more about delivery

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Tino Stefanoni

Tino Stefanoni

Italy • Born in: 1937

Printmakers Artists

Italian artists

Tino Stefanoni (06/07/37 - 02/12/17), born in Lecco, studied at art school Beato Angelico and the Faculty of Architecture of the Milan Polytechnic.

For more than fifty years it is present in the international art world.

The work of Tino Stefanoni, although not belonging strictly to that of conceptual art, in fact, has always developed in the same research area. He always looked at the world of things and objects of everyday life, presenting them in their most disarming obviousness, like boards of a visual primer or pages of a instruction manual where the images replace the words.

Unlike the animal and plant worlds that are not relevant to man, the world of things is however the only tangible sign of its existence, and therefore it owns, traces of his thought and its history where you can create art and beauty that are not art and beauty of nature.
And 'evident in the research, the interest to want to present things more than to want to represent and, at the same time, to clothe subtle irony and magic drawn from aseptic Worktion as in a lucid dream, so to speak, that can bring together elementary and mystery, two elements which by their nature are not coming but close to counterpoint.
Even in the paintings of today, where the canons of classical painting (in the strict sense of the term) are deliberately exaggerated in favor of a teaching of the pictorial (light chiaroscuro drawing color), always it turns the world of things which, while remaining time resolving of his work, charging course of metaphysical meanings, the same meanings of the paintings from black stretch and gradient sinopie definable as the previous ones.

The enchanted disenchantment - Painting as Object - The state of the facts - The objective irony - The illusion unveiled - Platonic Loves - Emoticon - Metaphysics of quotidiano- Irony poetry and so be it - Magic conceptualism - The enigma of the obvious - Painting of the mind, are some significant texts written titles on his work. The fake enchantment, therefore, of its seemingly classic painting, lyrical and conceptual disguises the time of his work all strictly rational and, ironically, rational << >> emotionally, to the point of wanting to emphasize that painting is nothing but a object to the mind as the chair, the table or the bed are objects for the body. 

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