HOMMAGE À NICCOLO FONTANA TARTAGLIA H.230cm FRANCESCO MARINO DI TEANA

  • Dimensions : 74 × 138 × 230 cm
  • Year : 1956-1974
  • Material : Patinated steel
  • Signature : Signed with the artist's stamp
  • Editions : Edition of 8 + 4 AP

More informations

Referenced in the Artist's Catalogue Raisonné under No. 422
LOFT Editions, 2018, under the direction of Nicolas Marino di Teana and Malika VINOT

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PUBLISHING

• « Michael Bruno Gives Marino di Teana’s Architectonic Sculptures a Home in Southampton», Brook Mason, www. architecturaldigest.com, 15 juin 2017

• « Michael Bruno lends southampton home for maison gerard’s exhibit, ‘A lifetime of passion and expression’ », Kaitlynn Miller, www.hamptons-magazine. com, 17 juil. 2017

• « Founder of online art retailer may sell Hamptons mansion », Jennifer Gould Keil, www.nypost.com, 26 juil. 2017

• «AD World», Architectural Digest, Middle East, New York, Etats-Unis Juil. – Août 2017 (coul. P.40)
• «Behind the hedges, the Hamptons are buzzing about a mysteriuos newcomer, Marino di Teana», Craig Kellog, Interior Design, Juil. 2017 (coul. P.126)

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EXHIBITIONS

• Depuis Rodin, Musée municipal de Saint-Germain-en-Laye, France, 14 nov. 1969-15 janv. 1970 (Fig.65)
• Œuvres et recherches de Marino di Teana, Sculpture- Architecture- Urbanisme, Château de Braux-Sainte-Cohière, France, 7 juil.-15 oct. 1974 (Fig.3)

• Marino di Teana, Sculptures-Dessins, Exposition itinérante au MCL St – Étienne, MAL Montbéliard, MBA Reims, France, 1975-1976 (Cat. Fig.10)

• Marino di Teana, sculptures et propositions d’urbanisme, Musée d’Art Moderne de la Ville de Paris, France, 15 janv.-29 fév. 1976
• Marino di Teana sculptures – dessins et peintures – 1960-1980, Musée des Beaux-arts, Pau, France, Été 1981 (cat. titrée « Équitation »)

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ARCHITECTURAL DEVELOPMENT

The architectural dimension Marino gives to his works from the mid-1950s will bring new meaning to his work. Until the mid-1960s his work is thus mainly devoted to the development of his “architectural structures”. In the introduction to the book published by Griffin in 1967 he speaks extensively to Jean Clay and explains how he came to this conception: “Before, I hated architecture. I saw it too close up on my building sites. Away from that environment, at home, I was creating art with my own sensitivity. But as soon as I discovered the role of space, I started to create art based upon the surrounding frame. (...) Little by little I instinctively realized that while I was working on a sculpture, I imagined behind it buildings of Le Corbusier or another architect. This ended up inspiring my shapes, hardening them, giving them the geometric and anti-anecdotic rigor that characterizes them now. A sculptor must never think in isolation or his work will remain merely childlike or playful.“ Henceforth space is meaningful not only because of the dynamic forms it generates, but also in relation to the architectural perspective that surrounds them.

 

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