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Enrico Donati

Italy (1909 -  2008 ) Wikipedia® : Enrico Donati
DONATI Enrico Rivières, Crépuscule

Sotheby's
Nov 6, 2015
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Along with Enrico Donati, our clients also searched for the following authors:
Mario Sironi, Franco Grignani, Viktor Vasarhely, Alighiero Boetti, Angelo Savelli, Anton Zoran Mušič, Lucio Fontana
Artworks in Arcadja
137

Some works of Enrico Donati

Extracted between 137 works in the catalog of Arcadja
Enrico Donati - Composizione #2

Enrico Donati - Composizione #2

Original 1947
Estimate:

Price:

Gross Price
Lot number: 545
Other WORKS AT AUCTION
Description:
Sale 2469 Lot 545 ENRICO DONATI Composizione #2. Pen and ink and gouache on smooth wove paper, circa 1947-48. 352x278 mm; 13 7/8x11 inches. Signed in pencil, lower right. Donati (1909-2008) was an Italian-American surrealist painter and sculptor. After his initial studies in Pavia, Italy, he moved to the United States in the 1930s and trained at the New School for Social Research and the Art Students League, both in New York. He met André Breton, Marcel Ducahmp and other European Surrealists in New York at the time, and became a devotee. During the crisis in Surrealism in the late 1940s, he responded by entering a Constructivist phase, as evidenced by the current work, and later in his career he became associated with Spacialism and was influenced by Lucio Fontana.
Enrico Donati - Black Eye Specialist

Enrico Donati - Black Eye Specialist

Original 1947
Estimate:

Price:

Gross Price
Lot number: 264
Other WORKS AT AUCTION
Description:
This lot is offered without a reserve Enrico Donati (American/Italian, 1909-2008) Black eye specialist; together with a companion work the first signed, dated and inscribed 'donati/ 17-1947' (lower right) and titled 'Black eye specialist/ Lady/ Tattoo-artist'(upper center); the companion signed, dated and inscribed 'donati/ 16/1947' (lower left) the first ink on paper the first 16 ½ x 14 in. (41.9 x 35.6 cm.); the companion 14 x 16 ½ in. (35.6 x 41.9 cm.) (2)
Enrico Donati - Alaska

Enrico Donati - Alaska

Original 1991
Estimate:

Price:

Lot number: 69
Other WORKS AT AUCTION
Description:
Lot Description

Enrico Donati (American, 1909-2008)
Alaska
signed 'donati' (lower right); signed again, dated and titled 'Alaska 1991/ Enrico donati' (on the reverse)
oil, sand and synthetic fiber on canvas
32 x 36 in. (81.3 x 91.4 cm.)
Painted in 1991.

Lot Condition Report

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Provenance
with David Findlay Jr. Fine Art, New York.
Pre-Lot Text
PROPERTY FROM A PRIVATE COLLECTOR, ILLINOIS
Enrico Donati - Rivières, Crépuscule

Enrico Donati - Rivières, Crépuscule

Original 1943
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Gross Price
Lot number: 122
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Description:
Enrico Donati

1909 - 2008

RIVIÈRES, CRÉPUSCULE

Signed Donati (lower left); titled Rivières, Crépuscule (on the stretcher)

Oil on canvas

29 7/8 by 39 7/8 in.

75.8 by 101.3 cm

Painted circa 1943.

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Saleroom Notice

Provenance

Morse Collection, Ohio (and sold: Parke-Bernet Galleries, Inc., New York, October 29, 1964, lot 161)

Acquired at the above sale
Enrico Donati - Istrumento Di Suono

Enrico Donati - Istrumento Di Suono

Original
Estimate:

Price:

Lot number: 44
Other WORKS AT AUCTION
Description:
ENRICO DONATI (1909-2008)

Istrumento di suono

signed 'Donati' (lower right); with title 'istrumento di suono' (on the reverse)

oil on canvas

31 1/8 x 29 7/8 in (80 x 76 cm)

Painted

circa

1948

Footnotes

Provenance

Galleria Schettini, Milan (inv. nos. 1271 and FS 1078).

Galleria d'Arte Bergamo, Bergamo.

Massimo Marin Collection, Montebello Vicentino (acquired from the above on 23 January 2004).

Private collection, Italy.

Exhibited

Milan, Banca Cesare Ponti,

Pont'900, Enrico Donati

, 21 October 2002-17 January 2003.

Enrico Donati settled in New York in 1940, but it was not until an exhibition of his work at the New School for Social Research in 1942 that he caught the attention of the artistic community. The critic Lionello Cavallo introduced him to André Breton, who immediately recognized the importance of his work. Breton had gathered around him a coterie of emigré painters including Marcel Duchamp and Max Ernst together with earlier arrivals such as Arshille Gorky. In this circle, which largely continued the strands of Surrealism that had been cut short in Paris after the Occupation, Donati's facility with abstract painting and his ability to craft a sense of mystery and ambiguity was immediately welcomed. As the critic Maurice Nadeau noted '[Donati] restores to Surrealism its primal vigor which was perpetual conquest and liberation, and to its revolution he adds a spiral unwinding the infinite' (M. Nadeau, 'Enrico Donati',

Cahiers d'Art

, 1946, p.418).

For Breton, Enrico Donati was a vital force capable of mediating between the competing tendencies towards Illusionism and Abstraction within the Surrealist movement. Donati had come late to painting and so his approach was largely insulated from the bitter infighting that had characterized the movement since the 1920s. As Donati later recalled, Breton exclaimed 'You are one of us.' The group met regularly at Larré's French Restaurant, opposite André Breton's apartment at 45 West 56th Street, Manhattan. Whether in the city or at the home of Kay Sage and Yves Tanguy in the sprawling countryside of Woodbury, Connecticut, these artists continued at work and leisure the games, arguments and advances that defined Surrealism on both sides of the Atlantic.

Donati used these new relationships to help him establish his career. In particular he collaborated with Duchamp on the key

Exposition Internationale du Surréalisme

at Galerie Maeght in Paris in 1947, which marked both the return of Surrealism to Europe after the war and the dawn of a new era. There is little doubt that the working lives of Duchamp and Donati were intertwined at the time

Istrumento di suono

was painted.

Donati's work in 1947-49 presents a turning point in his output. Instead of forging further into automatism, Donati moved toward the greater sense of precision and geometry seen in the present work. Given his closeness to the surrealists at this period and his ability to tap into his unconscious, this progression is noteworthy. The divergence also illustrates the division that was taking place in both America and Europe after the Second World War: some painters would remain tethered to abstraction while others, like Donati, would create a new realism and order.

By taking several objects and amalgamating them into a unified vision, Donati became known for a distinctive process that was paired with geometric precision. Beginning with small objects and shapes, he would layer veils of color over small descriptive passages. At the center of the present composition the suggestion of a cog and other mechanical elements can be made out. These objects seem reminiscent of Duchamp's visual vocabulary especially the 'precision optics' resembling optical discs made in Paris in 1913 as well as several objects related to the important work

The Large Glass

of 1915. Among these elements are passages of ethereal color providing a wonderful example of Donati's unique vision as a painter.
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