Buffet FRANCESCO MARINO DI TEANA
- Dimensions : 180 × 65 × 88 cm
- Year : 1956
- Material : Painted steel with black patina
- Signature : Signed with the artist's stamp
- Editions : Edition of 8 + 4 AP
- Ton : Dark
- Thèmes :
Referenced in the Catalog Raisonné of the artist under No. 1288 - P. 483
Éditions LOFT, 2018, under the direction of Nicolas Marino di Teana and Malika VINOT
Throughout Marino di Teana’s creative journey, art was never confined to a purely aesthetic universe. He had no difficulty in considering the functional characteristic of a work or the aesthetic dimension of a building. Bringing art and industry together came to him naturally, not only in his works (such as the Conquest of space for a Saint Gobain factory), but also in his humanistic vision of creation. He made no difference between worker, industrialist or archi- tect. To him, all are working in the same direction to improve the world. With the same sensitivity, curator François Mathey organized the exhibition “Antagonisms 2, the object” in 1962 at the Museum of Decorative Arts. For this occasion, he commissioned more than one hundred artists to produce decorative and utilitarian objects. The furniture made by Marino from small models imagined a few years earlier stands at the edge of all these worlds. In his creative process Mathey pools together the artists, the museum and industry, clearly identified by the highlighting of materials and manufacturers (Uginox and Saint-Gobain) in the presentation of the works.
Francesco Marino Di Teana is a painter, sculptor, architect, poet and philosopher, who marked the sculpture of the 1950s-60s with his theories on the tri-unitarian logic which integrate the "void" as an active element of pictorial and architectural composition.
An insatiable builder, Francesco Marino di Teana designed various pieces of furniture in the mid-1950s. While he lives off odd jobs as a decorator, he develops in parallel to his work as a sculptor some astonishing creations, true hybrids between the aesthetic design of the 1950s and the “architectural” construction specific to the artist. Initially intended for his close friends and early collectors, these “confidential” works are now brought to light thanks to the research and investigation work carried out around the preparation of the catalog raisonné. The finalization of their edition also allows us to finally have direct access to these elegant and avant-garde “furniture-sculptures”.
The same artist