Ben Ormenese (1930-2013) - Senza titolo - XL format
02
days
02
hours
31
minutes
45
seconds
Current bid
€ 240
Reserve price not met
Expert
Selected by Caterina Maffeis
Master in early Renaissance Italian painting with internship at Sotheby’s and 15 years' experience.
Estimate € 3,000 - € 3,600
 | €240 | |
|---|---|---|
| €220 | |
| €200 |
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 144355 reviews
Rated Excellent on Trustpilot.
Ben Ormenese, Senza titolo – XL format, an original oil painting from 1970–1980, Italy, signed and framed, 133 × 133 cm, condition good.
AI-assisted summary
Description from the seller
Ben Ormenese
(Prata di Pordenone, March 3, 1930 – Pordenone, July 15, 2013)
“Untitled”
Routed wooden slats (multiplex)
and stretched canvas varnish
Original work / 1970–1980
Dimensions: 133 x 133 cm in transparent plexiglass
Canvas: 130 x 130 cm
Auction estimate
€ 2,800 – 3,000
Description and artistic analysis
The Untitled work by Ben Ormenese represents an interesting example of abstract and three‑dimensional research, where painting, sculpture and material experimentation meet, surpassing the traditional boundaries of the pictorial surface.
The composition develops within a strict square format, dominated by a broad light field on which a vertical, irregular and tapered sculptural element is inserted.
The central structure, created using shaped wooden slats arranged in a rhythmic sequence of parallel reliefs, physically emerges from the plane of the canvas, forging a refined dialogue between light, matter and depth.
A black field, placed at the top, introduces a strong chromatic and geometric contrast, accentuating the dynamic of the composition.
The particular processing of the slats produces a sequence of subtle shadows that change according to the direction of light and the viewing point, giving the work a continuously variable visual perception.
The artistic language: matter, space and movement
In this composition Ormenese abandons figurative representation to focus on the fundamental elements of the visual language: form, rhythm, surface, light and space.
The wood is not merely a support material but becomes the protagonist of the artistic construction.
The orderly arrangement of the reliefs introduces an optical vibration that seems to animate the surface, while the contrast between the verticality of the central form and the stability of the square perimeter creates a controlled compositional tension.
The relationship between the white background, the black upper field and the natural tone of the slats is particularly significant, giving the whole an essential and measured balance.
The work can be read as a reflection on the overcoming of traditional painting: no longer just an image to be viewed frontally, but a plastic object capable of interacting with the surrounding space.
Historical and artistic framing
Ben Ormenese’s research developed from the 1960s, when the artist gradually abandoned traditional painting to devote himself to constructing wooden structures and exploring the perceptual effects of light.
As early as the mid-1960s he created the LAM cycle (lamellar structures), in which surfaces articulated into parallel elements produce optical effects and shadow games. 
The work under consideration shows evident formal affinities with these investigations, especially in the use of slats and the relationship between surface and relief. However, it is not possible to assign it with certainty to the LAM cycle without further documentary evidence.
Interpretation of the work
The central form may evoke an organic presence, almost a leaf, a blade or a suspended body, but without adopting a clearly defined figurative identity.
The vertical element seems to emerge from the surface only to progressively dissolve downward, while the black upper field enhances its visual impact.
The result is a composition of great essentiality, in which movement is not represented but arises from the viewer’s perception.
Presentation and protection: Frontally protected by a transparent plexiglass sheet placed in front of the artistic surface, serving to protect the plastic elements and the original composition.
Conservation note: The protective plexiglass sheet may show slight surface marks, halos or reflections due to use and exposure, which do not necessarily constitute alterations to the underlying artwork.
__________________________________________________
Condition Report:
Good, compatible with the presumed age of the work. Signs of time on plexiglass
__________________________________________________
Note regarding the frame
The frame, if present, is provided free of charge and considered an accessory element of the work, not contributing to its monetary value.
Considering the possible fragility, age and delicacy of the materials, during packing, handling and transport, small damages, detachments, chipping or breakages may occur.
Any damage to the frame cannot therefore be grounds for dispute, refund requests or price reductions.
The purchase refers exclusively to the described artwork, while the frame is included as a free gift, in the condition in which it is found.
Ideal for collecting and investment
Professional packing and insured shipping
Museum-grade shipping in a wooden crate
Seller's Story
Magnolia Arte
Auctions · Works of Art · Expertise
Magnolia Arte was born from a passion for art and from the experience gained in study, selection and enhancement of works destined for collecting.
The auction house and gallery operates in the art market with particular attention to antique, modern and contemporary painting, offering carefully selected works for historical-artistic interest, quality and collectible value.
Each work is presented through a path of in-depth study that, where applicable, considers historical and stylistic context, attribution, condition, provenance and bibliographic and comparative references. For works that require it, studies, expertise and diagnostic deepening can also be prepared.
COLLECTING WITH DISCERNMENT
For Magnolia Arte, purchasing a work means entering into a relationship with a unique object, a witness of an era, of a culture and of the artist’s sensibility.
For this reason we accompany the collector not only in the choice, but also in the understanding and valorizations of the work, offering a direct, confidential and professional relationship.
Translated by Google TranslateBen Ormenese
(Prata di Pordenone, March 3, 1930 – Pordenone, July 15, 2013)
“Untitled”
Routed wooden slats (multiplex)
and stretched canvas varnish
Original work / 1970–1980
Dimensions: 133 x 133 cm in transparent plexiglass
Canvas: 130 x 130 cm
Auction estimate
€ 2,800 – 3,000
Description and artistic analysis
The Untitled work by Ben Ormenese represents an interesting example of abstract and three‑dimensional research, where painting, sculpture and material experimentation meet, surpassing the traditional boundaries of the pictorial surface.
The composition develops within a strict square format, dominated by a broad light field on which a vertical, irregular and tapered sculptural element is inserted.
The central structure, created using shaped wooden slats arranged in a rhythmic sequence of parallel reliefs, physically emerges from the plane of the canvas, forging a refined dialogue between light, matter and depth.
A black field, placed at the top, introduces a strong chromatic and geometric contrast, accentuating the dynamic of the composition.
The particular processing of the slats produces a sequence of subtle shadows that change according to the direction of light and the viewing point, giving the work a continuously variable visual perception.
The artistic language: matter, space and movement
In this composition Ormenese abandons figurative representation to focus on the fundamental elements of the visual language: form, rhythm, surface, light and space.
The wood is not merely a support material but becomes the protagonist of the artistic construction.
The orderly arrangement of the reliefs introduces an optical vibration that seems to animate the surface, while the contrast between the verticality of the central form and the stability of the square perimeter creates a controlled compositional tension.
The relationship between the white background, the black upper field and the natural tone of the slats is particularly significant, giving the whole an essential and measured balance.
The work can be read as a reflection on the overcoming of traditional painting: no longer just an image to be viewed frontally, but a plastic object capable of interacting with the surrounding space.
Historical and artistic framing
Ben Ormenese’s research developed from the 1960s, when the artist gradually abandoned traditional painting to devote himself to constructing wooden structures and exploring the perceptual effects of light.
As early as the mid-1960s he created the LAM cycle (lamellar structures), in which surfaces articulated into parallel elements produce optical effects and shadow games. 
The work under consideration shows evident formal affinities with these investigations, especially in the use of slats and the relationship between surface and relief. However, it is not possible to assign it with certainty to the LAM cycle without further documentary evidence.
Interpretation of the work
The central form may evoke an organic presence, almost a leaf, a blade or a suspended body, but without adopting a clearly defined figurative identity.
The vertical element seems to emerge from the surface only to progressively dissolve downward, while the black upper field enhances its visual impact.
The result is a composition of great essentiality, in which movement is not represented but arises from the viewer’s perception.
Presentation and protection: Frontally protected by a transparent plexiglass sheet placed in front of the artistic surface, serving to protect the plastic elements and the original composition.
Conservation note: The protective plexiglass sheet may show slight surface marks, halos or reflections due to use and exposure, which do not necessarily constitute alterations to the underlying artwork.
__________________________________________________
Condition Report:
Good, compatible with the presumed age of the work. Signs of time on plexiglass
__________________________________________________
Note regarding the frame
The frame, if present, is provided free of charge and considered an accessory element of the work, not contributing to its monetary value.
Considering the possible fragility, age and delicacy of the materials, during packing, handling and transport, small damages, detachments, chipping or breakages may occur.
Any damage to the frame cannot therefore be grounds for dispute, refund requests or price reductions.
The purchase refers exclusively to the described artwork, while the frame is included as a free gift, in the condition in which it is found.
Ideal for collecting and investment
Professional packing and insured shipping
Museum-grade shipping in a wooden crate
Seller's Story
Magnolia Arte
Auctions · Works of Art · Expertise
Magnolia Arte was born from a passion for art and from the experience gained in study, selection and enhancement of works destined for collecting.
The auction house and gallery operates in the art market with particular attention to antique, modern and contemporary painting, offering carefully selected works for historical-artistic interest, quality and collectible value.
Each work is presented through a path of in-depth study that, where applicable, considers historical and stylistic context, attribution, condition, provenance and bibliographic and comparative references. For works that require it, studies, expertise and diagnostic deepening can also be prepared.
COLLECTING WITH DISCERNMENT
For Magnolia Arte, purchasing a work means entering into a relationship with a unique object, a witness of an era, of a culture and of the artist’s sensibility.
For this reason we accompany the collector not only in the choice, but also in the understanding and valorizations of the work, offering a direct, confidential and professional relationship.
Translated by Google TranslateDetails
Sold with frame
Yes
Sold by
Gallery
Edition
Original
Artist
Ben Ormenese (1930-2013)
Title of artwork
Senza titolo - XL format
Technique
Oil painting
Signature
Signed
Country of origin
Italy
Year
1970
Condition
Good condition
Height
133 cm
Width
133 cm
Weight
12 kg
Period
1970-1980
Sold by
