Giulio Turcato *
(Mantua 1912–1995 Rome)
Arcipelago, 1961, signed; signed, dated and inscribed on the reverse, mixed media on canvas, 96.5 x 195.5 cm, framed
This work is registered in the Archivio Giulio Turcato, Rome and is accompanied by a photo certificate of authenticity.
Provenance:
European Private Collection
“Throughout the 1960s, Turcato’s investigations into light and surfaces moved in many different directions. (…) In the paintings of the Arcipelago series, he impregnated the canvas with a mixture of sand and colored glass powder, subsequently overlaying it with layers of luminous color. The surfaces thus turn into phosphorescent fields whose identity constantly shifts. As the viewer moves from one vantage point to another, the underlying shimmer of the painted matter changes, fracturing the calligraphic motifs of the rough surfaces that re-emerge in new configurations, or even causing them to disappear altogether. (…) Throughout his career, Turcato was a restless artist, driven by an obsession with discovering what else might lie concealed behind the visible. His works appear at once microscopic and macroscopic, biological and cosmic. His paintings seem to have come from far away (…) irreverent and yet inspiring, they generate themselves before the viewer’s eyes”.
By John Yau, Giulio Turcato
p. 20,21,22 Giulio Turcato- Venezia, Museo d’Arte Moderna di Ca’ Pesaro 13 ottobre- 9 dicembre 1990, ed. Electa, Milano 1990
Specialist: Flaminia Allvin
(Mantua 1912–1995 Rome)
Arcipelago, 1961, signed; signed, dated and inscribed on the reverse, mixed media on canvas, 96.5 x 195.5 cm, framed
This work is registered in the Archivio Giulio Turcato, Rome and is accompanied by a photo certificate of authenticity.
Provenance:
European Private Collection
“Throughout the 1960s, Turcato’s investigations into light and surfaces moved in many different directions. (…) In the paintings of the Arcipelago series, he impregnated the canvas with a mixture of sand and colored glass powder, subsequently overlaying it with layers of luminous color. The surfaces thus turn into phosphorescent fields whose identity constantly shifts. As the viewer moves from one vantage point to another, the underlying shimmer of the painted matter changes, fracturing the calligraphic motifs of the rough surfaces that re-emerge in new configurations, or even causing them to disappear altogether. (…) Throughout his career, Turcato was a restless artist, driven by an obsession with discovering what else might lie concealed behind the visible. His works appear at once microscopic and macroscopic, biological and cosmic. His paintings seem to have come from far away (…) irreverent and yet inspiring, they generate themselves before the viewer’s eyes”.
By John Yau, Giulio Turcato
p. 20,21,22 Giulio Turcato- Venezia, Museo d’Arte Moderna di Ca’ Pesaro 13 ottobre- 9 dicembre 1990, ed. Electa, Milano 1990
Specialist: Flaminia Allvin
