Sentences with phrase «fontana arte»

Mirror, Fontana Arte.

«Galerie» is a low floor lamp perfect for reading, designed by Federico Peri and manufactured by Fontana Arte, made in glass, metal and marble and is part of a collection including two...

Knock - your - socks - off gorgeous 1950's Italian chandelier in the style of Pietro Chiesa for Fontana Arte.

A stunning pendant fixture in the manner of Pietro Chiesa for Fontana Arte.

Elegant chandelier Italian 1940s attributed Pietro Chiesa Fontana Arte, colored bent curved glass plate in geometric shapes, shiny, elegant brass structure is very refined in its kind.

Pietro Chiesa for Fontana Arte (1892 - 1948).

A rare Italian chain hanging green faceted and beveled glass panel chandelier, lantern or pendant with nice chromed metal details attributed to Pietro Chiesa for Fontana Arte, Italy...

Designed by Pietro Chiesa, manufactured by Fontana Arte, circa 1948.

A beautiful Fontana Arte chandelier.

1940s Italian suspended hoop chandelier in the style of Pietro Chiesa for Fontana Arte.

a big floor lamp, colored galss rods, tubular brass, brass fabric lampshade; this model is very similar to the model produced by Max Ingrand for Fontana Arte in 1957 for the table lamp;...

Exquisitely designed Italian chandelier with three delicate polished brass arms and a beautiful etched glass canopy in style of Pietro Chiesa for Fontana Arte.

The shield shape glass with cross hatched etching surrounding a brass cylindrical light source literature - Fontana Arte, Franco Deboni - allemandi and co, illustrated near identical...

At the Fontana Arte glass table, a brass chair from India mixes with Ressler Importers» Louis XVI — style chairs upholstered in an African fabric.

«Setareh» is a table lamp, designed by Francesco Librizzi and manufactured by Fontana Arte, featuring a structure in gold or chromed metal and a sphere in white satin blown glass.

«Tripod» is a floor lamp, designed by Front Design and manufactured by Fontana Arte, featuring three legs in painted tubular steel, adjustable spots with a dimmer pedal and a sphere in...

Two model 2022 flush mount ceiling lights by Max Ingrand by Fontana Arte.

Fontana Arte Model 2448 glass nickel brass, Italy, circa 1967.

Literature: Franco Deboni, Fontana Arte, Gio Ponti, Pietro Chiesa, Max Ingran...

Adjustable clam - shell table lamp in glass and brass by Max Ingrand for Fontana Arte, Italy, circa 1960.

Typical entries include works by Franco Albini, Ron Arad, Arman, Fontana Arte, Banksy, Alighiero Boetti, Hans Brattrud, Alexander Calder, Andre Dubreuil, Lucio Fontana, Diego Giacometti, Antony Gormley, Keith Haring, Damien Hirst, Finn Juhl, Gerald Laing, Marino Marini, Roberto Matta, Lucio Muñoz, Isamu Noguchi, Claes Oldernburg, Pablo Palazuelo, Verner Panton, Sergio Rodrigues, Mimmo Rotella, Mario -LSB-...]

Not exact matches

Eyes Wide Open: An Italian Vision, the most important private collection of Arte Povera ever to be shown in the UK, exploring the movement's roots in the work of Post-War Italian artists Alberto Burri, Lucio Fontana, Piero Manzoni and Fausto Melotti and its flowering in the works of artists such as Michelangelo Pistoletto, Alighero Boetti, Mario Merz, Luciano Fabro, Giulio Paolini, Pino Pascali, Giuseppe Penone and Emilio Prini.

Buck, Luisa, «The Satellite Fair Comes of Age,» The Art Newspaper, Dec. 2005 Workman, Michael, «Border Patrol,» New City Chicago, 2005 Fontana, Lilia, «About Collections and Collectors,» Arte al Dia, 2004 Babcock, Mark, «Delinquent Boys,» Glasstire, Oct. 2004 Moreno, Gean, «If You Believe Hard Enough,» Art US, Oct. 2004 Martin, Marisol, «Art Chicago,» Art Nexus, Oct. 2004 Sommereys, Omar, «Electric Kool - Aid Overload,» The Street, April 2004 Suarez de Jesus, Carlos, «Art Capsules,» The New Times, March 2004 Turner, Elisa, «Way Outside the Galleries,» The Miami Herald, Feb. 2004 Sirgado, Miguel, «Edge Zones,» El Nuevo Herald, Feb. 2004 Feinstein, Roni, «Expanding Horizons,» Art in America, Dec. 2003 Sirgado, M., «Muestras Paralelas de Downtown a Wynwood,» El Nuevo Herald, Dec. 2003 Hernandez, Amber, «Dark Days,» The Miami Hurricane, Dec. 2003 Triff, Alfredo, «Mortality Rules,» The New Times, Dec. 2003 Bayer, Brian, «South Florida Today,» PBS, Sept. 2003 Ocaňa, Damarys, «Cheeky Showing,» The Street, Aug. 2003 Turner, Elisa, «Galleries Put Focus On Home Grown Art,» The Miami Herald, Aug. 2003 Turner, E., «City Focus: Miami - A Dramatic Reinvention,» ARTnews, Feb. 2003 Ales, Reynaldo, «Arte y Aparte,» Travel and Leisure, Jan. 2003 Cotzee, Mark, Where Art is Happening, 2002 Ocaňa, Damarys, «Art Guide 2002,» The Street, Oct. 2002 Sultry, Lynn, «Newly Juried Artists,» Art on the Road, Summer 2000 Turner, Elisa, «As Reality Art, Tent Survives Camp Of Live - in Artist,» The Miami Herald, Sept. 2001

As the father of Arte Povera in Italy, he can seem labored compared to the breathing women of Marisa Merz or the slashed canvases of Lucio Fontana — who encountered him at the 1952 Venice Biennele and became a friend.

Currently the subject of a major retrospective at New York's Guggenheim Museum, the artist became one of the leading members of Italy's radical Arte Povera, or «poor art» movement, joining members including Lucio Fontana, Michelangelo Pistoletto and Jannis Kounellis.

Lucio Fontana, for example, though associated briefly with the Italian Movimento Arte Concreta (M.A.C.), ultimately found his practice to be at odds with the «sterile and empty» formalism of this tendency.

There were no Medici (s) in Rome, Milan or Turin in 1964; collectors were few and far between for post-war Italian abstraction or the Azimuth artists (Castellani, Fontana, Manzoni), and there was little (if any) support for Arte Povera.

Other early exponents of radical change in the Italian visual arts include proto Arte Povera artists: Alberto Burri, Piero Manzoni, and Lucio Fontana and Spatialism.

In the early 1970s, Renato Cardi began collecting the work of under recognized artists such as Lucio Fontana, Piero Manzoni and Michelangelo Pistoletto and started to build a distinguished collection of works from the Arte Povera movement.

Born 1928 in Mendoza Argentina, Le Parc studied under Lucio Fontana at the Escuela Superior de Bella Artes, Buenos Aires (1942 - 54).

Throughout the period Schifano also succeeded in synthesising many aspects of European and American modernism, while resonating with the concerns of post-war Italian art; his experimentation with materials and reflection of Italy's post-war social and economic changes are shared with the artists of Arte Povera as well as Lucio Fontana and Alberto Burri.

Part of a series in which Kosuth installs contemporaries or forebears, the exhibition will incorporate a selection of work by artists proposed by influential Arte Povera artist Emilio Prini (1943 — 2016), namely Enrico Castellani (b. 1930), Lucio Fontana (1899 — 1968), Yves Klein (1928 — 1963), Kosuth himself and Piero Manzoni (1933 — 1963).

This rare loan has been provided by The Fontana Foundation in Milan, Italy, and the Museo de Arte Contemporáneo, Caracas.

It is actively engaged in promoting and enhancing, through exhibitions and catalogues, Arte Povera and Conceptual Art, in particular Boetti, Calzolari, Paolini and Pistoletto; Land Art, with Christo and Long; some of the greatest artists and photographers such as Fontana, Motonaga, Beard, Ghirri, Kiarostami and Neshat.

Among the most significant exhibitions, Postwar Italian Ceramics curated by Luca Massimo Barbero with works by Fontana and Melotti; the solo shows by Pistoletto and Alviani; We Land, Land Art group show; Metamorphosis: the Alchemist of Matter, with texts by Bruno Corà, dedicated to Arte Povera.

In the 1960s, he actively participates in major exhibitions organized by spatialist, particularly in New Trend 3, Arte Programmata — Aktuel 65 and ZERO Avant - garde, in the workshop of Lucio Fontana.

Fontana was trained as a sculptor and later found fame as a painter and an inspiration to the Italian Arte Povera artists.

A generation of artists, grouped together under the term «Arte Povera», emerged in Italy in the second half of the 20th century who, influenced by Piero Manzoni and Lucio Fontana's artwork, and turning to the use of simple, everyday materials, realised a series of works that, without relinquishing a kind of poetic awareness of the world, were profoundly critical of industrialisation and consumer society.

We also received no papers at all on the artists we have come to consider «canonical» postwar Italian artists (Lucio Fontana and Piero Manzoni to name only two) or Arte Povera artists.

Lucio Fontana (1899 — 1968) radically transformed our conception of painting, sculpture and space by transcending the two - dimensionality of the canvas, foreshadowing many movements of the 1960s and»70s such as Arte Povera, conceptualism and land art.

Lucio Fontana was a famous Italian painter, sculptor and art theorist, widely recognized as the founder of Spatialism and often tied to Arte Povera.

Arte Povera was a style of contemporary art inspired by the unconventional artworks of Piero Manzoni (1933 - 63), as well as earlier movements such as the Dau al Set (The Seven - Spotted - Dice association of Barcelona, c.1948 - 53), and the Spatialism (Spazialismo) of Lucio Fontana (1899 - 1968), in Milan (c.1947 - 60).

Dickinson will exhibit paintings by artists inspired by these principles, including those artists directly influenced by Mondrian such as Charmion von Wiegand and César Domela; Yves Klein, who devised and patented the most intense shade of blue he could conceive of for his IKB series; and members of Arte Povera and ZERO groups, including Agostino Bonalumi, Turi Simetti, Enrico Castellani and most notably Lucio Fontana, whose Tagli in primary colours are his most desirable and sought - after works.

A nearly unknown contemporary of Arte Povera godheads Lucio Fontana and Alberto Burri, Leonardo Leoncillo plied his trade in the not - so - fashionable medium of ceramics before dying in 1968 — a half a century before ceramic artists like Letha Wilson and Sterling Ruby became stars with very similar work.

Early on in this process, we were focusing on Italian artists, Fontana, Manzoni, Burri, Arte Povera.

From masterpieces by the Italian avant - garde artists such as Giorgio Morandi, Fausto Melotti, Alberto Burri and Lucio Fontana, to works by internationally famous artists; Pop Art by Andy Warhol, Tom Wesselmann, Keith Haring; Conceptual Art by Piero Manzoni and Enrico Castellani; Surrealism by Max Ernst and Joan Mirò; the female vision of Carla Accardi and Marina Abramovic; «Arte Povera» by Giovanni Anselmo, Mario Merz, Giuseppe Penone, Michelangelo Pistoletto, Gilberto Zorio, plus contemporary artists such as Darren Almond, Stephan Balkenhol, Massimo Bartolini, Vanessa Beecroft, Emily Jacir, winner of Hugo Boss Prize 2008, Anish Kapoor, Thomas Hirschhorn, Kiki Smith and Bill Viola.

Other early exponents of radical change in the visual arts include proto Arte Povera artists: Antoni Tàpies and the Dau al Set movement, Alberto Burri, Piero Manzoni, and Lucio Fontana and Spatialism.

An extraordinary journey through art, politics, and society, with works by artists such as Renato Guttuso, Lucio Fontana, Alberto Burri, Mario Schifano, Mario Merz, and Michelangelo Pistoletto, recounting and reflecting on the contrasts, transformations and new artistic trends in Italy between the end of World War II and the years of protest, from the opposition between Realism and Abstraction in the postwar period to the triumph of Informal Art in the fifties, Pop Art, and Arte Povera and Conceptual Art in the sixties.

Lucio Fontana's slashed canvases, Arte Povera artists» use of industrial materials, and the graffiti - like mark - making of Jean Dubuffet and Cy Twombly are some of the references cited in Stingel's press materials.

A huge number of artwork by Lucio Fontana will be auctioned at Sotheby's Milan at Arte Moderna e Contemporanea auction, that will last for two days: Session 1 will be on May 20 at 7 PM (Lots 1 — 60), while Session 2 will take place on May 21 at 3 PM (Lots 100 — 182).