Giangiacomo Spadari - Spezza i bianchi col cuneo rosso






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Giangiacomo Spadari's Spezza i bianchi col cuneo rosso, a 1973 multi‑colour lithograph in a limited edition, 73 x 53 cm, hand-signed, in good condition and framed, Italy, Pop Art themed work.
Description from the seller
Beautiful multi-color lithograph on very thick paper by Giangiacomo Spadari, based on his 1972 series “Insinua nei bianchi il cuneo rosso”
A pencil-numbered edition at the bottom left and signed by the artist at the bottom right with the date 1973.
Giangiacomo Spadari (1938–1997), a prominent figure of Italian Pop Art and Critical Figurativism. Lithograph Revisit in a Pop/political key of the famous Soviet avant-garde manifesto by El Lissitzky from 1919.
The composition is rigidly divided into two horizontally overlapped registers, following the artist's typical graphic language and editing style.
The so-called historical Citazionismo present in this work faithfully reproduces the suprematist and constructivist manifesto “Break the Whites with the Red Wedge” by El Lissitzky.
The geometric penetration of the red triangle, symbol of the Bolshevik Red Army, inside the white circle representing the counterrevolutionary forces is recognizable.
The Cyrillic inscriptions preserve the original propaganda text.
There is a naked-standing man in a vigorous, emotionally impactful action as he rends his shirt or shouts a political riot.
The human figure is rendered through strong two-dimensional chiaroscuro contrasts.
The vivid red captures attention on the geometric wedge; electric blue and saturated yellow define the human figure at the bottom.
This acidic color combination is a hallmark of Spadari’s Pop graphics and painting from the early 1970s.
The human figure has no traditional shading. Spadari uses clean, contrasted flat areas that recall photographic solarization or tracing from a film frame, a technique tied to his investigations into journalism and social history.
The work fully represents Spadari’s style, who loved revisiting myths and images of past political or artistic moments to update them in his time’s social context—the years of protest and political engagement in Italy.
By merging El Lissitzky’s revolutionary geometric abstraction with the anthropomorphic expressionism of Pop Art, Spadari creates a visual bridge between the 1917 historical revolution and contemporary ideological currents.
Careful packaging guaranteed
The lithograph is sold with a frame and protected by glass
Beautiful multi-color lithograph on very thick paper by Giangiacomo Spadari, based on his 1972 series “Insinua nei bianchi il cuneo rosso”
A pencil-numbered edition at the bottom left and signed by the artist at the bottom right with the date 1973.
Giangiacomo Spadari (1938–1997), a prominent figure of Italian Pop Art and Critical Figurativism. Lithograph Revisit in a Pop/political key of the famous Soviet avant-garde manifesto by El Lissitzky from 1919.
The composition is rigidly divided into two horizontally overlapped registers, following the artist's typical graphic language and editing style.
The so-called historical Citazionismo present in this work faithfully reproduces the suprematist and constructivist manifesto “Break the Whites with the Red Wedge” by El Lissitzky.
The geometric penetration of the red triangle, symbol of the Bolshevik Red Army, inside the white circle representing the counterrevolutionary forces is recognizable.
The Cyrillic inscriptions preserve the original propaganda text.
There is a naked-standing man in a vigorous, emotionally impactful action as he rends his shirt or shouts a political riot.
The human figure is rendered through strong two-dimensional chiaroscuro contrasts.
The vivid red captures attention on the geometric wedge; electric blue and saturated yellow define the human figure at the bottom.
This acidic color combination is a hallmark of Spadari’s Pop graphics and painting from the early 1970s.
The human figure has no traditional shading. Spadari uses clean, contrasted flat areas that recall photographic solarization or tracing from a film frame, a technique tied to his investigations into journalism and social history.
The work fully represents Spadari’s style, who loved revisiting myths and images of past political or artistic moments to update them in his time’s social context—the years of protest and political engagement in Italy.
By merging El Lissitzky’s revolutionary geometric abstraction with the anthropomorphic expressionism of Pop Art, Spadari creates a visual bridge between the 1917 historical revolution and contemporary ideological currents.
Careful packaging guaranteed
The lithograph is sold with a frame and protected by glass
