Julio Le Parc *
(Mendoza, Argentina 1928-2026 Paris)
Serie 58 N°1, 1974, signed, dated and titled on the reverse, acrylic on canvas, 100 x 100 cm, framed, in Perspex box
This work is accompanied by a photo certificate of provenance issued by Valmore Studio d‘Arte, Vicenza and signed by the artist.
Provenance:
Julio Le Parc Collection
Valmore Studio d‘Arte, Vicenza (label and stamp on the stretcher)
European Private Collection
Exhibited:
Vicenza, Le Parc opere dal ’60 al 2000, Studio d’ Arte Valmore, November 2000, exhib. cat. p. 5 with. ill. (upside down)
“Describing his early research into Surfaces, the artist has written: "Rather than rational speculations into the organisation of sur-faces, our starting reference is the eye of the spectator" and therefore entails the elimination of the traces of manual realisation and subjective composition in favour of the use of neutral geometrical forms (squares, circles and rectangles) ordered through anonymous relationships algebraic or topographical progressions and so on), aimed at obtaining an "active surface" that is, one capable of establishing a visual connection with the observer. The artist distances himself from the work by limiting his authoritative and inspired subjectivity while programming a device which will capture the spectators, rendering them accomplices in the artistic process”.
(Monica Bonollo, Le Parc opere da ‘60 al 2000, Galleria Valmore, November 2001, p.3)
Specialist: Flaminia Allvin
(Mendoza, Argentina 1928-2026 Paris)
Serie 58 N°1, 1974, signed, dated and titled on the reverse, acrylic on canvas, 100 x 100 cm, framed, in Perspex box
This work is accompanied by a photo certificate of provenance issued by Valmore Studio d‘Arte, Vicenza and signed by the artist.
Provenance:
Julio Le Parc Collection
Valmore Studio d‘Arte, Vicenza (label and stamp on the stretcher)
European Private Collection
Exhibited:
Vicenza, Le Parc opere dal ’60 al 2000, Studio d’ Arte Valmore, November 2000, exhib. cat. p. 5 with. ill. (upside down)
“Describing his early research into Surfaces, the artist has written: "Rather than rational speculations into the organisation of sur-faces, our starting reference is the eye of the spectator" and therefore entails the elimination of the traces of manual realisation and subjective composition in favour of the use of neutral geometrical forms (squares, circles and rectangles) ordered through anonymous relationships algebraic or topographical progressions and so on), aimed at obtaining an "active surface" that is, one capable of establishing a visual connection with the observer. The artist distances himself from the work by limiting his authoritative and inspired subjectivity while programming a device which will capture the spectators, rendering them accomplices in the artistic process”.
(Monica Bonollo, Le Parc opere da ‘60 al 2000, Galleria Valmore, November 2001, p.3)
Specialist: Flaminia Allvin
