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Arturo Martini

Italy (Treviso 1885 -  Milano 1947 ) Wikipedia® : Arturo Martini
MARTINI Arturo Untitled

Palais Dorotheum
Dec 19, 2018
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Artworks in Arcadja
288

Some works of Arturo Martini

Extracted between 288 works in the catalog of Arcadja
Arturo Martini - Untitled

Arturo Martini - Untitled

Original 1923
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Price:

Gross Price
Lot number: 118
Other WORKS AT AUCTION
Description:
Arturo Martini (Treviso 1889-1947 Milan) Untitled, signed on both sides, pencil on paper, painted on both sides, 23.5 x 31.5 cm, framed Provenance: B. Martini Collection, Vado Ligure European Private Collection Exhibited: VI Quadriennale Nazionale d\’Arte di Roma, 18 December 1951-15 May 1952 (label on the reverse) Letter from Gianni Vianello (1980s), editor of Catalogo ragionato generale della Scultura di Arturo Martini. Specialist: Alessandro Rizzi
Arturo Martini - Pietà

Arturo Martini - Pietà

Original 1941
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Price:

Lot number: 120
Other WORKS AT AUCTION
Description:
Arturo Martini (Treviso 1889–1947 Milan) Pietà, 1941, signed, Carrara marble, 65 x 57 x 30 cm View video Provenance: Scarpa Collection, Venice European Private Collection Exhibited: Treviso, Arturo Martini, Ex Tempio di Santa Caterina, 10 September - 12 November 1967, exh. cat. no. 169 Venice, Arturo Martini. Opere degli anni Quaranta, Galleria della Fondazione Bevilacqua la Masa, 10 June - 5 August 1989, no. 12, pp. 66 and 140 with ill. Carrara, IX Biennale Internazionale di Scultura Città di Carrara, 25 July - 27 September 1998, exh. cat. no. 12, pp. 62 and 64 with ill. Literature: G. Perocco, Arturo Martini. Catalogo delle sculture e delle ceramiche, Treviso 1966, no. 479 A. Martini, Le Lettere 1909–1947, 1967, pp. 345–346 and 1992, p. 209 M. Apa, Arturo Martini per il Centenario della nascita 1889–1989, in \“Informazioni UCAI\”, 16 May 1990, p. 12 N. Stringa, Arturo Martini e Carrara. Pensieri nel marmo, in E. Crispolti, LM. Barbero, IX Biennale..., 1998, p. 39 G. Vianello, N. Stringa, C. Gian Ferrari, Arturo Martini. Catalogo ragionato delle sculture, Neri Pozza, Vicenza 1998, p. 354, no. 528 with ill. b/w ill. Note: The work is in Italy and does not have an export licence. Over the course of his brief life (he died in 1947 at 58 years old), Arturo Martini was recognised by many artists and writers, as well as by some critics, as the most important, if not the only true Italian sculptor of the era. However, due to a combination of historical and personal circumstances, he was unable to establish himself beyond the borders of his homeland. In 1941 the sculptor developed an important epistolary relationship with Monsignor Giovanni Fallani, and right away an opportunity emerged to place a Deposition in a church in Rome. This did not come to pass, but Martini was encouraged to linger on both the relationship between art and religion, to which he dedicated a series of theoretical reflections, as well as the specific subject, which from that moment reoccurred regularly in his work. The present work in marble is possibly his first piece on the subject: executed at Carrara in 1941-1942, it is decisively inspired by Primitivism. The marble appears as if sculpted by an axe, in an attempt to technically recall \“depositions\” in mediaeval wood carvings. \“Martini is a classical man, he cannot conceive of form without a human purpose. He narrates because he sees man as a story: love, maternalism, sex, madness, heroism, suffering, dreams or happiness. He is unable to even see or develop even one of these aspects, creating a style that would become his signature, as did Lehmbruck and Giacometti in different epochs. It is this classicism, anchored in the figurative experience of typically Italian art such as sculpture which renders Martini a unique phenomenon and almost anachronistic within the art of this century. His rejection of the \“originality\” of the avant-garde is a conscious rejection, and his final achievement of surrealist, non-figurative forms emerges only from the dramatic personal experience of one who has explored every avenue of expression\”. Paolo Baldacci Martini was not the only one to struggle with the human and religious tension which, chisel-stroke by chisel-stroke, he would free from the block of marble in which he felt it was imprisoned: the most obvious and illustrious influence can be found in the chisel of Michelangelo Buonarroti, an innovator as much driven towards Renaissance modernity as tied to the past, and held up as the most important source of inspiration. The Italian iconography of the Pietà is likely borrowed from an ingenious blend of the iconographical representations of the Lament – of Byzantine origin – and of the Madonna of Humility. However it is in Germany, at the start of the fourteenth century, that this scheme of composition materialises in sculpture for the first time. After Florence, the next most important source of Renaissance appropriation of the Vesperbild is Venice, which has always been open to Northern influences and presence, and which, centuries later, was the place of Vicenza native Arturo Martini\’s training. Martini\’s work is almost anachronistic in its modernity; the clear, ascetic scheme constructed along lines of elemental force betrays his deep understanding of Northern mediaeval art, in which the quality of the work is directly comparable to the final, devoted obsession of the dying Michelangelo: his third Pietà, the Rondanini Pietà, was called into question by the sculptor, and re-hewn over and over again during the most desperate days of his life. The creative exuberance, the need to preserve everything that is spontaneous, natural, and primitive, the child\’s charm and the game which lend the work the \“ease\” that renders it classical, represent both the quality and the difficulty inherent in Martini\’s art.
Arturo Martini - San Giorgio

Arturo Martini - San Giorgio

Original 1928
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Gross Price
Lot number: 138
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Description:
Arturo Martini (Treviso 1889-1947 Milan) 2 reliefs: a) San Giorgio, 1928, painted and glazed ceramic, 31.5 x 29 x 9 cm, framed Literature: G. Perroco, Arturo Martini, catalogo ragionato delle sculture e delle ceramiche, Treviso 1966, no. 631, plate 584 (another example); G. Vianello, N. Stringa, L. Gian Ferrari, Arturo Martini, catalogo ragionato delle sculture, Vincenza 1998, p. 146, no. 215 (another example) We are grateful to Prof. Stringa, Milan, for his kind assistance with the cataloguing of this work. b) Le tre Grazie, 1928, painted and glazed ceramic, 32 x 28 x 9 cm, framed Literature: G. Vianello, N. Stringa, L. Gian Ferrari, Arturo Martini, catalogo ragionato delle sculture, Vincenza 1998, p. 146, no. 216 (another example) with ill., (2) Specialist: Mag. Patricia Pálffy
Arturo Martini - Interno Di Stalla

Arturo Martini - Interno Di Stalla

Original
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Starting price:

Price: Not disclosed
Lot number: 103
Other WORKS AT AUCTION
Description:
Lot 103: Arturo Martini (Treviso 1889 - Milan 1947) Interno di stalla ( Stable interior ),1925/1930,oil on canvas
Arturo Martini (1889-1947)
Exhibited: Galleria Varese, exhibition of the artist Arturo Martini
Reverse bears label from the Galleria Varese and stamps from the Galleria Orler and Galleria Falsetti Prato
Provenance: Galleria Bonioni Arte, Reggio Emilia
32 x 44 cm
Arturo Martini - La Pisana

Arturo Martini - La Pisana

Original
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Price:

Lot number: 542
Other WORKS AT AUCTION
Description:
Provenance

Sale: Dorotheum, Vienna, 20th May 2010, lot 1124

Purchased at the above sale by the present owner

Exhibited

Mesola, Castello Estense, Scultura Italiana del Primo Novecento, 1992, illustrated in the catalogue p. 146

Show Literature & Catalogue Notes

Show Literature & Catalogue Notes

Literature

Gianni Vianello, Nico Stringa & Claudia Gian Ferrrari, Arturo Martini, Catalogo ragionato delle sculture, Venice, 1998, no. 224, illustration of another cast p. 151

Hide Literature & Catalogue Notes

Literature & Catalogue Notes

Property from The Collection of Antal Post De Bekessy

542

PROPERTY FROM THE COLLECTION OF ANTAL POST DE BEKESSY

Arturo Martini

1889 - 1947

LA PISANA, II VERSIONE

signed A Martini, numbered 4/6 and stamped with the foundry mark Tesconi Pietrasanta and stamped PD

bronze

length: 135cm., 53 1/8 in.

Conceived in 1928-1930 and cast in bronze in a posthumous edition in 1989 in an edition of 6 plus 2 artist's proofs in collaboration with the Galleria Philippe Daverio, Milan.

GBP

Print Please notify me when the condition report is available
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