ALBERTO SUGHI (1928–2012) COUPLE AT THE BAR. 1992. Pastels and...

ALBERTO SUGHI (1928–2012) COUPLE AT THE BAR. 1992. Pastels and colored chalks on parchment mounted on canvas. 63x69 cm. Signed and titled. The work is accompanied by a certificate of registration from the Sughi Archive Cultural Association. The work was originally slightly larger and, as the archival documentation attests, was part of a group of twenty works, all created in 1992, all using the same technique—a mixture of colored chalks and pastels—and all of the same size, 80x60 cm. Some photos preserved in the archive still show this work in its original dimensions. It is difficult to say when and why it was trimmed at both side edges. Perhaps the work sustained some damage and needed to be trimmed and remounted; or perhaps one of the collectors who acquired it simply preferred a slightly smaller size and, without consulting the artist’s studio, decided to sacrifice the ends of the two sides, which, to be honest, essentially consisted of a flat background with only a few chalk marks.The group of works in question was likely the result of a commission—in which the choice of medium, the support (parchment), and a uniform size already constitute a significant peculiarity in and of themselves— becomes even more evident in the depiction of the subjects, which are, without exception, reinterpretations of some of the main themes in Sughi’s painting: large portraits of young women, models in the studio, card players, sunsets over the sea, and, as in this case, bar scenes. Reinterpretations, yes, but in a completely fresh light, to the point that—as is fully appreciated in this work—the true subject of this group of works lies precisely in the style: a geometric style, built on simple parallel and vertical planes, cut by strong beams of light—which have the effect of flattening the volumes—and on a color palette limited to primary colors: an orange-red, a lemon yellow, green, and blue, which combine without ever overlapping and, conversely, leave large portions of the paper blank, thereby highlighting the parchment. The geometric innovations in Sughi’s drawing ultimately come to the fore and find their freedom in these flat outlines, which lend the figures and the image a sort of aggressive modernity, without, however, ever sacrificing the expressive tenderness that distinguishes and shines through in all his work. Although, as mentioned above, this group of works was likely commissioned by a single patron and intended for exhibition, there is no evidence that an exhibition ever took place. [Serena and Mario Sughi]. Frame included