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Roberto Iras Baldessari

Italy (Innsbruck 1894 -  Roma 1965 )
BALDESSARI Roberto Iras Dinamismo Di Forme

Auctionata /Mar 8, 2017
38,000.00
Not disclosed

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Variants on Artist's name :

Baldessari Roberto Marcello

 

Artworks in Arcadja
481

Some works of Roberto Iras Baldessari

Extracted between 481 works in the catalog of Arcadja
Roberto Iras Baldessari -  Luce+fabbriche+periferia

Roberto Iras Baldessari - Luce+fabbriche+periferia

Original 1914
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Lot number: 27
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Description:
Roberto Marcello Iras Baldessari * (Innsbruck 1894–1965 Rome) Luce+fabbriche+periferia, c. 1914, signed R. M. Baldessari, oil on canvas, 54.5 x 71 cm, framed Photo certificate: Archivio Unico per il catalogo delle Opere Futuriste di Roberto Marcello Baldessari, n. B14–18, dated Rovereto 24/11/2011 Provenance: Private Collection, Austria Private Collection, Italy The present painting is one of a very small group of works that document Baldessari\’s early Futurist period, during which he was still heavily influenced by Carlo Carrà\’s style. This is manifest in the use of long pigment filaments and the depiction of the street lights, which are reminiscent of \“Notturno a Piazza Beccaria\” and constitute an homage to Carrà. In addition, Baldessari weaves in references to the diaphanous nocturnal figures painted by Russolo, sharply backlit and shaped by grazing light. These features also occur in another important painting from this early period, the large canvas titled \“Luce+Ambiente (Luna Park)\”. (R.M.B., Catalogo Generale, vol. 2, 1996, no. 7). Furthermore, the subjects of urban outskirts and factories are recurring features in Boccioni\’s work. Baldessari reveals a keen interest in the stylistic evolution of early Futurism, from which he would develop his own pictorial language towards 1916. The present work, which has been rediscovered along with another with a similar subject and style (Luce+Folla+Strada, 1914), constitutes an important addition to our knowledge of the artist\’s oeuvre.
Roberto Iras Baldessari - Alberi

Roberto Iras Baldessari - Alberi

Original 1917
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Starting price:

Price:

Lot number: 67
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Description:
Roberto Marcello Baldessari (1894 - 1965) Lot 67: ROBERTO MARCELLO BALDESSARI | Alberi Description: From an important Italian Private Collection Da un'importante Collezione Privata italiana signed and inscribed "Iras", pencil and charcoal on paper, executed in 1917 ca., the work is verbally pre-registered in the Archivio R.M. Baldessari, Rovereto firmato ed iscritto "Iras", matita e carboncino su carta, eseguito nel 1917 ca., opera verbalmente pre-registrata presso l'Archivio R.M. Baldessari, Rovereto Please note that article 11 of General Condition of Business (Online Only) is not applicable for this lot Si prega di notare che l\’articolo 11 delle Condizioni Generali di Vendita (Online Only) non è applicabile per questo lotto Dimensions: main image: cm 27,7x18, framed: cm 47x37x2,5
Roberto Iras Baldessari - Post-divisionist

Roberto Iras Baldessari - Post-divisionist

Original 1918
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Gross Price
Lot number: 3
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Description:
Roberto Marcello Iras Baldessari * (Innsbruck 1894–1965 Rome) Dinamismo di un vaso di fiori n. 2, c. 1918, signed R. M. Baldessari, signed on the reverse: Vaso di fiori- R. M. Baldessari, oil on cardboard, 64.5 x 52 cm, framed Photo certificate: Archivio Unico per il catalogo delle Opere Futuriste di Roberto Marcello Baldessari, under the no. B18–27, Rovereto, 12/06/2003 Provenance: Alfredo Hess Collection, Kron, Switzerland Corti Collection, Varese Private Collection, Italy Exhibited: Rome, Continuità del futurismo sud-nord, curated by Maurizio Scudiero and Anna Maria Ruta, M.I.C.R.O., February – March 2009, exh. cat., M.I.C.R.O. (ed.), p. 84 with ill. Agrigento, Futurismo, curated by Maurizio Scudiero, Anna Maria Ruta and Francesco Catalano, Fabbriche Chiaromontane, April – June 2009, exh. cat., Amici della Pittura Siciliana dell\\\’Ottocento (ed.), pp. 62-63 with ill. It is around 1918 that the various references which Baldessari had collected in his albeit brief Futurist sojourn up until that point begin to consolidate, and thus come to define his signature style. This is unanimously recognised by academics who have focused on Baldessari, from Rinaldo Corti, who saw to the first brief monograph on Baldessari\\\’s Futurist period in 1957, to Riccardo Maroni, who expanded on this in 1962, as well as Bruno Passamani and Enrico Crispolti, who curated two important retrospectives in 1967 and 1982 respectively. In this subject, which appears to have little in common with Futurism, we find instead the pinnacle of Futurist expression. This is visible first and foremost in the clarity of colour that Baldessari derived from the lessons of Beppe Ciardi, his teacher in Venice, who brought about that Baldessari became the only Futurist artist to paint with the glazing technique. Further elements are detectable in the \\\“post-divisionist\\\” brushstrokes that he saw in the Futurist and (from 1905 on) non-Futurist paintings that Boccioni exhibited at Ca\\\’ Pesaro in Venice in 1910. Also visible is the masterly application of the precepts that Boccioni established in his book, \\\“Pittura Scultura Futuriste – Dinamismo plastico\\\” (Futurist Painting Sculpture – Plastic Dynamism) of 1914, which became like a bible for the young generations that drew closer to Futurism. This is manifest in the application of lines of force, interpenetrations, simultaneous vision, etc. Thus, a simple vase of flowers becomes anexplosion of signs, colours, and volumes: a kind of sculpture (plastic) moving in space (dynamic) that Baldessari is able to depict as a vibrant body even within the constraints of the immediate and limited perspective of two-dimensional painting. All this, combined with the chromaticism of the flowers, moves this painting closer to the other works created in 1918, which distinguishes itself as one of the top, most intense years in the adventure of this extraordinary artist. Maurizio Scudiero Saleroom Notice: In the print catalogue a wrong exhibition is mentioned.
Roberto Iras Baldessari - Dinamismo Di Forme

Roberto Iras Baldessari - Dinamismo Di Forme

Original c.1915
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Starting price:

Price: Not disclosed
Lot number: 52
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Description:
Roberto M. Baldessari (1894-1965), Dinamismo di Forme, c. 1915

Oil on canvas

Italy, c. 1915

Roberto Marcello Iras Baldessari (1894-1965) – Italian painter and graphic artist

Signed lower left \‘R. M. BALDESSARI\’\’\’\’\’\’\’\’

Verso with gallery stamp (see provenance) and stamped \‘Jose Pedro Argul\’\’\’\’\’\’\’\’

Diverse exhibition labels verso on the stretcher (see exhibitions)

With confirmation of authenticity: Archivio Unico per il Catalogo delle Opere Futuriste di Roberto Marcello Baldessari, Rovereto, 8.6.2009, No. B15-71

Dimensions: 54 x 72.5 cm

Frame: 73.5 x 91.5 cm
Roberto Iras Baldessari - Riflessi Su Un Paese

Roberto Iras Baldessari - Riflessi Su Un Paese

Original c.1917
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Price:

Gross Price
Lot number: 455
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Description:

Roberto Marcello Iras Baldessari*

(Innsbruck 1894–1965 Rome)

Riflessi su un paese (Romagna), c. 1917, signed R. M. Baldessari, oil on cardboard, 56 x 54.5 cm, framed, (MCC)
Photo certificate:

The work is registered in the Archivio Unico per il catalogo delle Opere futuriste di Roberto Marcello Baldessari, under the number B17–59, Rovereto 14/1/2008
Provenance:

N. Carozzi Collection, Lerici (label on the reverse)

Private Collection, Italy
Exhibited:

Rome, Continuita del Futurismo Nord-Sud, M.I.C.R.O. Arte, February– March 2009, curated by Maurizio Scudiero and Anna Maria Ruta, exh. cat. p. 81, with ill.

Agrigento, FUTURISMO, Fabbriche Chiaromontane, April–June 2009, exh. cat. p. 69 with ill.
In the spring of 1916, Baldessari sojourned in Lugo di Romagna at an especially vital moment in his personal and artistic experience. His memories of the landscapes in the Romagna region and their intense light became for Baldessari a recurring motif in his landscape painting, which is often based on a view from above emphasising the \“verticality\“ of houses, in contrast with the light\’\’\’\’ \’\’\’\’s lines of force illuminating them from above. In terms of composition and colour, the present painting is undoubtedly the most accomplished in this long series of studies.
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