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Carla Accardi

Italy (Trapani 1924 -  Roma 2014 )
ACCARDI Carla Violaarancia

Palais Dorotheum
Jun 6, 2019
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Variants on Artist's name :

Carlaaccardi

 

Artworks in Arcadja
1389

Some works of Carla Accardi

Extracted between 1,389 works in the catalog of Arcadja
Carla Accardi - Violaarancia

Carla Accardi - Violaarancia

Original 1984
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Lot number: 487
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Description:
Carla Accardi * (Trapani 1924–2014 Rome) Violaarancia, 1984, signed and dated Accardi 84, with dedication and the number 88-1985 on the reverse, gouache on paper, 23.5 x 33.5 cm, framed This work is registered in the Archivio Accardi Sanfilippo, Rome, with the no. 88-1985. Provenance: gift from the artist to the present owner (1997, Rome) Private Collection, Belgium
Carla Accardi -  Sans Titre

Carla Accardi - Sans Titre

Original 1961
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Lot number: 273
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Carla ACCARDI (Née en 1924) SANS TITRE - 1961 Gouache sur papier Signé et daté en bas à droite "Accardi, 61", contresigné et daté au dos "accardi, 61" 48,50 x 66 cm (19,09 x 25,98 in.) Provenance : Collection particulière, Paris Commentaire : Gouache on paper; signed and dated lower right, signed again and dated on the reverse
Carla Accardi -  Senza Titolo N. I

Carla Accardi - Senza Titolo N. I

Original 1953
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Lot number: 276
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Carla Accardi * (Trapani 1924–2014 Rome) Senza titolo n. I, 1953, signed Accardi; signed, titled and dated on the reverse Accardi 1953 \“Senza titolo\” n. I, oil on canvas, 70x92cm, framed The work has been registered at Archivio Accardi Sanfilippo under the number 1.01 Provenance: Acquired from the artist in 1958 by the present owner and thence by inheritance European Private Collection Literature: G. Celant, Carla Accardi, Silvana editoriale, 2011, pp. 318 and 319, no. 1952/53 2 with ill. in colour \“Right from her earliest paintings – at the time of the Gruppo Forma – Carla Accardi had understood how the artist of today must create her own language, must be equipped with her own alphabet (…) an alphabet that in the first works could seem cryptic or illegible. It hardened over the years and became an extremely clear and persuasive means of communication.\” Gillo Dorfles Specialist: Maria Cristina Corsini
Carla Accardi -  Sparisce Dentro Al Foro

Carla Accardi - Sparisce Dentro Al Foro

Original 2012
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Lot number: 363
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Carla Accardi * (Trapani 1924–2014 Rome) Sparisce dentro al foro, 2012, signed, dated and titled on the reverse C. Accardi \“Sparisce dentro al foro\” n. 337 2012, acrylic on canvas, 70x90cm Photo-certificate: Archivio Accardi-Sanfilippo, Rome, no. 337 C with certificate number A/39/2018 Provenance: Acquired from the artist by the present owner Private Collection, Italy Specialist: Maria Cristina Corsini
Carla Accardi - Integrazione Ovale

Carla Accardi - Integrazione Ovale

Original
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Lot number: 15
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Description:
Carla Accardi * (Trapani 1924–2014 Rome) Integrazione Ovale, 1958, signed and dated \‘58; inscribed, signed and dated again on the reverse, casein on canvas, 131x197cm, framed Provenance: Jacorossi Collection, Rome Galleria Notizie, Turin (stamp on the reverse) Studio Casoli, Milan Gianni Manzo Collection, Milan Giangaleazzo Visconti Collection, Milan European Private Collection Exhibited: Rome, Carla Accardi, Galleria La Salita, 12 April 1958 Tokyo, IX Tokyo Biennal, Metropolitan Art Gallery, 1961, exh. cat. no. 6 (titled \“Structure n. 3\”, with wrong dimensions and technique) Genoa, Accardi, Galleria La Polena, 12 February - 10 March 1970 Turin, Galleria Martano, 26 February-20 March 1981 (titled \”Struttura n. 3\” with wrong dimensions) Rome, In superficie, Studio Durante, December 1989-January 1990, exh. cat. no. 1 Catania, Carla Accardi. Segno e trasparenza, Fondazione Puglisi Cosentino, Palazzo Valle, 6 February-12 June 2011, exh. cat. p. 110 with ill. Literature: Germano Celant, Carla Accardi, Charta, Milan 1999, p. 267, no. 1958–2 with ill. In the early years of the 1950s, the preconditions of a profound internationalisation of Italian artistic culture were evident, and deeply permeated by foreign as much as domestic stimuli: Italian gallery owners secured increasing numbers of exhibitions overseas, Venturi held lectures on the New York avant-garde movements, and writers such as Flaiano, Moravia, and Elsa Morante accentuated the de-realisation of writing in favour of a language of the imagination; in 1951 Namuth\’s photographs depicting Pollock in the midst of his creative process of drippings, in which he would walk and dance around untouched canvases laid out on the ground, began to circulate. Thus the idea of the first white on black paintings was born: \“It was a year of crisis, I was very demotivated and I thought I was unable to paint anymore. And in isolation I began to paint straight on the ground, to trace signs. But I used white on black because black on white didn\’t excite me as it was too obvious; in that particular moment the artist has to have a sense of uniqueness, of novelty that spurs her on.\” These lines decisively describe the emergence of an \‘anti-painting\’ comprised of contrasts, inversions, of movement that overthrows the hierarchy of form and colour, of the relationships between unlimited and individual vision, passing through the dissolution and the crisis of tradition. This is what Accardi searches for in her painting, where a sign alone does not matter in itself, but exists in relation to other signs of the moment which together create a structure, and become a form of artistic expression (within the structure), acquiring in the process a magical and intelligent meaning of rigorous necessity, but also of unpredictable play.
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