Piero Dorazio - Erker-Galerie St. Gallen ** ORIGINAL LITHOGRAPHIC PRINT ** 1990

Original lithographic poster by Piero Dorazio (*).
This work was published on the occasion of the artist's solo exhibition at Erker-Galerie in 1990.
Published by Erker-Presse.

Specifications:

Dimensions: 70 x 50 cm
Year: 1990
Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, therefore offered in perfect condition).
Provenance: Private Collection.

The work will be carefully handled and packed in reinforced cardboard. The shipment will be certified with a tracking number.

The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.

(*) Piero Dorazio, Italian painter, born in Rome in 1927. He died in May 2005. Piero Dorazio began his student life in architecture but soon turned toward art and, more especially, painting. He was twenty when he participated in drafting the manifesto “Forma I,” a manifesto that will guide the whole of his future work.
In 1950, he founded the - bookshop-gallery - “La Edad de Oro” with M. Guerilli and A. Perilli, a cooperative of artists for the dissemination of art and art journalism. In 1952 and 1953 he collaborated with the magazine “Arti visivi” and published, almost two years later, “The Fantasy of Art in Modern Life.”
Thereafter he embarked on a long series of formative travels (Prague, Paris, the United States) in 1960, where he was a lecturer of art at the University of Pennsylvania (Philadelphia). In France he met Braque, Arp, Léger, Magnelli, Le Corbusier, artists whom he greatly admired. In the United States Dorazio associated with Hans Richter and Robert Motherwell.
While specializing in Italian Renaissance art, Piero Dorazio combines his work as painter, art critic, lecturer, and organizer of exhibitions. He began contributing to the “Corriere della Sera” from 1984, serving as its permanent art critic. If he began his painting career with figurative works, he evolved toward Cubist style; Futurist shortly after with vivid and contrasted colors. The linear structure appears in 1947. He experiences a Constructivist phase (1955) and then informal. The gesture is always of primary importance; his “nets” of lines and opposing colors create a subtle optical mix of tonalities and express his conception of gesture.