Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Agostino Bonalumi

Italy (Vimercate 1935 -  Desio 2013 )
BONALUMI AGOSTINO Untitled

Galerie Koller
Jun 29, 2019
Find artworks, auction results, sale prices and pictures of Agostino Bonalumi at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Along with Agostino Bonalumi, our clients also searched for the following authors:
Lyonel Charles Feininger, Piero Gilardi, Alberto Biasi, Jiri Kolar, Paul Jenkins, Mimmo Rotella, Mario Schifano, Franco Angeli, Pino Pascali, Hermann Nitsch, Donald Baechler
Artworks in Arcadja
1379

Some works of Agostino Bonalumi

Extracted between 1,379 works in the catalog of Arcadja
Agostino Bonalumi - Untitled

Agostino Bonalumi - Untitled

Original 1954
Estimate:

Price:

Gross Price
Lot number: 3403
Other WORKS AT AUCTION
Description:
Lot 3403 - A189 Post War & Contemporary - Saturday, 29. June 2019, 02.00 PM AGOSTINO BONALUMI (Vimercate 1935 - 2013 Milan) Untitled. 1954. Oil on canvas. Signed lower right: A Bonalumi. 80 x 59.5 cm. The authenticity of this work has been confirmed by the Archivio Bonalumi, Milan, March 2019. The work is registered there under the number: 54-001. We thank the Archivio for their kind support. Provenance: - Over 40 years privately owned Switzerland. - By descent to the present owner, as well private collection Switzerland.
Agostino Bonalumi -  Nero

Agostino Bonalumi - Nero

Original 1969
Estimate:

Price:

Lot number: 285
Other WORKS AT AUCTION
Description:
Agostino Bonalumi * (Vimercate/Monza 1935–2013) Nero, 1969, signed and dated 69 on the reverse, fibreglass and enamel, 70x125x42cm The work is registered in Archivio Bonalumi, Milan and is accompanied by a photo certificate of authenticity. Provenance: Galleria del Naviglio, Milan Galleria Fumagalli, Milan European Private Collection (acquired from the above in 2004) Literature: G. Dorfles, Bonalumi, Milan 1973, pp. 82–83 with ill. Modena, Bonalumi, Galleria Civica d\’Arte Moderna, 1974, no. 61 with ill. F. Bonalumi, M. Meneguzzo, Agostino Bonalumi. Catalogo ragionato, vol. II, Milan 2015, p. 433, no. 441 with ill. My work has never been about indulging a material for the sake of it. It\’s the result of an active interest in materials themselves, the intelligence of materials. Agostino Bonalumi
Agostino Bonalumi - Bianco

Agostino Bonalumi - Bianco

Original
Estimate:

Price:

Gross Price
Lot number: 785
Other WORKS AT AUCTION
Description:
Agostino Bonalumi Bianco Vinyl-Tempera auf geformter Leinwand. Ca. 45 x 45 x 13,5 cm. Rückseitig auf dem Staubkarton signiert und nummeriert sowie mit typographischen Editionsangaben. Exemplar 38/90. Edition Bottega d'Arte. - Mit leichten Altersspuren. Agostino Bonalumi Bianco Vinyl tempera on shaped canvas. Approx. 45 x 45 x 13.5 cm. Signed and numbered verso on powder card and with typographic information on the edition. Numbered 38/90. Edition Bottega d'Arte. - Minor traces of age.
Agostino Bonalumi - Rosso

Agostino Bonalumi - Rosso

Original 1988
Estimate:

Price:

Gross Price
Lot number: 233
Other WORKS AT AUCTION
Description:
Agostino Bonalumi ROSSO 1935 - 2013 signed on the reverse oil on canvas 97 by 130 cm. 38 1/4 by 51 1/4 in. Executed in 1988. Provenance Galleria Orler, Madonna di Campiglio Acquired from the above by the present owner Literature Fabrizio Bonalumi and Marco Meneguzzo, Eds.,Agostino Bonalumi, Catalogo ragionatoTomo II, Milan 2015, p. 593, no. 1180,illustrated
Agostino Bonalumi - Rosso

Agostino Bonalumi - Rosso

Original 1971
Estimate:

Price:

Lot number: 513
Other WORKS AT AUCTION
Description:
Agostino Bonalumi Rosso Acryl auf Fiberglas. 54,7 x 44,5 x 3,5 cm. In Plexiglaskasten. Rückseitig auf einer Holzleiste signiert und datiert 'Bonalumi 71 Febbraio' sowie mit einer Widmung. - Mit leichten Altersspuren. Mit beiliegendem Photozertifikat des Archivio Bonalumi, Mailand. Die vorliegende Arbeit ist im Archivio Bonalumi, Mailand, registriert. Provenienz Privatsammlung, Italien Agostino Bonalumi wird in vergleichbarer Weise wie Turi Simeti, Enrico Castellani oder Piero Manzoni um 1960 neue Möglichkeiten in der klassischen Tafelmalerei entwickeln und dazu beitragen, den Mythos in der italienischen Kunstszene der 1960er Jahre mitzuprägen. Bonalumis Arbeiten sind stark von geometrischen Formen geprägt. Seine Leinwände sind Objekt-Malereien: Dreidimensionale Körper brechen die Oberfläche der Leinwände und expandieren in die dritte Dimension. Den ästhetischen Vorgang hierbei versteht der Künstler als etwas Prozesshaftes, in dem das von Malerei geprägte Leinwandbild aufgegeben wird und in den Status des Objekthaften wechselt. Das Konzept der Ausstülpung führt zu einer Expansion der eigentlichen, wie hier im Ton leicht gebrochenen, in Nuancen differenzierten Farbflächenmalerei mit einer sehr einfachen, zentral angeordneten, scheibenförmigen, kissenartigen Form im Kontrast zum Rechteck der Tafel. Im 1971 ausgeführten „Rosso\“ (positivo) gelingt es dem Künstler mit einer besonders eleganten Arbeit das oben genannte Prinzip seiner Poetik mehr denn je zu verdeutlichen: Der vom Licht geschaffene Effekt gestaltet die Oberfläche. Sie animiert nicht nur die rote Monochromie, der Lichteinfall beleuchtet die plane Fläche und ihre angehobene Struktur. Bonalumi sucht nach verschiedenen Lösungen, nach einer profunden Objekthaftigkeit, in Leinwand modellierte Varianten bis zu reinen plastischen Arbeiten, welche die Idee der erweiterten Tafelmalerei hinter sich lassen und die Gattung wechseln. Das angestrebte, nahezu skulptural in den Raum Dringende zu lösen und dabei sehr viel mehr Aspekte der Ausstülpungen zu finden, als etwa seine Mitstreiter Turi Simeti, Enrico Castellani oder Piero Manzoni. In den siebziger Jahren arbeitet Bonalumi vorwiegend in einer ausgeprägten Dreidimensionalität und verzichtet deshalb weitestgehend auf das malerische Element: Eine rein monochrom gefasste Leinwand bedeckt Holzelemente, die die Flächigkeit aufheben, die Erhöhungen oder Vertiefungen werden mit Hilfe von an der Rückseite angebrachten Drähten markiert. Anfangs Lucio Fontana und dem Informell nahestehend, verleiht der Künstler nunmehr dem Thema Oberfläche auf Grund kräftiger Reliefwirkung durch Lichteinfall beziehungsweise Absorption des Lichts eine neue Geltung und entwickelt sein Werk in objektiver Form als ein eigengesetzliches Gebilde. Agostino Bonalumi Rosso Acrylic on fibreglass. 54.7 x 44.5 x 3.5 cm. In plexiglass box. Signed and dated 'Bonalumi 71 Febbraio' on a strip of wood verso and with dedication. - Minor traces of age. With a photo certificate from Archivio Bonalumi, Milan. The present work is registered in Archivio Bonalumi, Milan. Provenance Private collection, Italy Like Turi Simeti, Enrico Castellani or Piero Manzoni, Agostino Bonalumi would develop new possibilities in classical panel painting around 1960 and contribute to the myth in the Italian art scene of the 1960s. Bonalumi's works are strongly determined by geometric forms. His canvases are object-paintings: three-dimensional bodies fracture the surface of the canvases and expand into the third dimension. The artist understands the aesthetic process here as something process-like in which the canvas picture, characterized by painting, is abandoned and changes into the status of the object-like. The concept of the protrusion leads to an expansion of the actual, nuance-differentiated colour-surface painting, like the slightly broken tone here, with a very simple, centrally arranged, disc-shaped, cushion-like form in contrast to the rectangle of the panel. In the present, particularly elegant work \“Rosso\” (positivo) from 1971, the artist achieved more than ever to clarify the above-mentioned principle of his poetics: created by light, the effect shapes the surface. It not only animates the red monochrome, the incursion of light illuminates the flat surface and its raised structure. Bonalumi searches for various solutions, for a profound objectness, in variations modelled in canvas to works of pure plasticity which leave the idea of the extended panel painting behind and change its genre. To solve the great, almost sculptural, urgency, and thereby find many more aspects of the protrusions than his comrades Turi Simeti, Enrico Castellani or Piero Manzoni. In the 1970s, Bonalumi worked primarily in a pronounced three-dimensionality, largely renouncing the painterly element: a pure monochrome canvas conceals the wood elements, revokes the planarity, the peaks or troughs are marked with the help of wires attached to the back. Initially close to Lucio Fontana and Informel, the artist lends a new meaning to the theme of the surface due to its powerful relief effect through the incidence or absorption of light and develops his work in an objective form as an autonomous entity.
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr