Raffaele Frigerio (1875-1948) - Sorridere del tempo trascorso insieme





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Sorridere del tempo trascorso insieme, an oil on canvas by Raffaele Frigerio (1875–1948) dating to 1900–1910, Italy, original edition, signed by hand, 30 × 40 cm (with frame 51 × 61 cm).
Description from the seller
Artist: Raffaele Frigerio (Napoli 1875-1948)
Title: Smiling at the time spent together
Oil on canvas, cm. 30x40
With frame: cm. 51x61
Signed in the center on the right
Painting from my collection
Please note shipping costs.
We guarantee careful packing and trackable shipping.
The frame is kindly offered as a gift, thus I decline any responsibility for any damages
during shipping.
Important note: This painting is not sold in countries outside
the European Union.
——————-
Two elderly people who seem to smile at the time spent together, with that complicity that only a life shared can build.
Thinking of the modernity of Rothko, Fontana, Manzoni, Duchamp, this couple almost seems to take a SELFIE ante litteram. There is a complicity, a conscious pose, a presence within the image that, paradoxically, sounds more modern than much avant-garde art proclaimed as such aloud.
And perhaps this is precisely the point: it is not the subject and not their gaze, but our perception, our time related to the work.
Artist: Raffaele Frigerio (Napoli 1875-1948)
Title: Smiling at the time spent together
Oil on canvas, cm. 30x40
With frame: cm. 51x61
Signed in the center on the right
Painting from my collection
Please note shipping costs.
We guarantee careful packing and trackable shipping.
The frame is kindly offered as a gift, thus I decline any responsibility for any damages
during shipping.
Important note: This painting is not sold in countries outside
the European Union.
——————-
Two elderly people who seem to smile at the time spent together, with that complicity that only a life shared can build.
Thinking of the modernity of Rothko, Fontana, Manzoni, Duchamp, this couple almost seems to take a SELFIE ante litteram. There is a complicity, a conscious pose, a presence within the image that, paradoxically, sounds more modern than much avant-garde art proclaimed as such aloud.
And perhaps this is precisely the point: it is not the subject and not their gaze, but our perception, our time related to the work.

