Alfredo Volpi

(18961988 ) - Artworks Wikipedia® - Alfredo Volpi
VOLPI Alfredo Bandeirinhas Com Mastros E Fita

Christie's /May 22, 2012
266,707.31 - 342,909.40
359,097.20

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Artworks in Arcadja
32

Some works of Alfredo Volpi

Extracted between 32 works in the catalog of Arcadja
Alfredo Volpi - Fachada

Alfredo Volpi - Fachada

Original 1970
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Gross Price
Lot number: 3
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Description:
Alfredo Volpi (Brazilian 1896-1988) Fachada signed 'A Volpi' (on the reverse) tempera on canvas 12¾ x 9 3/8 in. (32.4 x 23.8 cm.) Painted circa 1970. Galeria de Arte Ipanema, Rio de Janeiro. Acquired from the above. FROM THE COLLECTION OF DR. LUIZ BETHOVEN DO AMARAL CD-ROM, O. Tavares de Araújo, Alfredo Volpi: Vida e obra, São Paulo, Logos Engenharia S.A/APK/Sociedade para Catalogação de Obra de Alfredo Volpi, 1997, no. 1343.
Alfredo Volpi - Fachada

Alfredo Volpi - Fachada

Original 1970
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Price:

Lot number: 45
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Description:
Alfredo Volpi (Brazilian 1896-1988) Fachada (No. 1342) signed 'A Volpi' (on the reverse) tempera on canvas 23¼ x 23¼ in. (59.1 x 59.1 cm.) Painted circa 1970. Galeria de Arte Ipanema, Rio de Janeiro. Acquired from the above. FROM THE COLLECTION OF DR. LUIZ BETHOVEN DO AMARAL CD-ROM, O. Tavares de Araújo, Alfredo Volpi: Vida e obra, São Paulo, Logos Engenharia S.A/APK/Sociedade para Catalogação de Obra de Alfredo Volpi, 1997, no. 1342. The son of working-class Italian immigrants, Volpi trained as a bookbinder and painter-decorator before finding success as an artist. Self-taught, he worked through the 1930s in the company of São Paulo's Grupo Santa Helena, a loose affiliation of modern-minded artists whose paintings emphasized proletarian themes treated with a subdued, pictorial realism. His work began to shed its figurative elements by the mid-1940s as it entered into dialogue with São Paulo's emerging concretistas, for whom his clean geometries and use of primary colors formed a suggestive point of departure. In his paradigmatic paintings of the following decades, Volpi cultivated an intuitive and idiosyncratic practice within the rubric of "geometria sensível," transforming everyday motifs--façades, flags, arches, sails--into simplified geometric shapes. "His synthetic style, pared down almost to a mere outline of real life . . . is transubstantiated into the abstract and foregrounds the function of paint in his themes," critic José Geraldo Vieira wrote at the time of the II São Paulo Bienal (1953-54). "[His] solutions are not formulas but constructivist rhythms, visual associations, at all times distilled to an essence, spare and dialectical."[1] Volpi's first façades date to the late 1940s, but the series crystallized over the 1950s as he explored myriad iterations of the modular grid through different permutations of color. In these works, he distilled ready-made, architectural shapes--doors, windows, and the iconic feast flags--into all-over abstractions. The present Fachada, likely dating from the late 1960s to the mid-1970s, displays the chromatic complexity characteristic of this period. "These late façades come forth as the most colorful in his entire production," curator Olívio Tavares de Araújo has noted. "All hues taken into account, the façades may boast even sixteen colors so closely integrated that, at first sight, the viewer does not realize that actually there are more than six or eight colors."[2] Here, Volpi draws upon the luminous materiality of his medium, traditional egg tempera, to probe subtle harmonies of color: taupe warms to mauve and amaranth, each quadrant testing the range of tonal values through chromatic contrast (green, black, orange) and consonance. Abby McEwen, Assistant Professor, University of Maryland, College Park 1) José Geraldo Vieira, quoted in Olívio Tavares de Araújo, Volpi: a música da cor (São Paulo: Museu de Arte Moderna de São Paulo, 2006), 266. 2) Tavares de Araújo, Volpi: a música da cor, 262.
Alfredo Volpi - Fachada

Alfredo Volpi - Fachada

Original
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Gross Price
Lot number: 69
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Description:
Lot Description Alfredo Volpi (Brazilian 1896-1988) Fachada (No. 1331) signed 'A. Volpi' (on the reverse) tempera on canvas 42¾ x 28¼ in. (108.6 x 72.7 cm.) Painted circa late 1960s. Provenance Petite Galerie, Rio de Janeiro. Acquired from the above (1967). Pre-Lot Text FROM THE COLLECTION OF DR. LUIZ BETHOVEN DO AMARAL Literature CD-ROM, O. Tavares de Araújo, Alfredo Volpi: Vida e obra, São Paulo, Logos Engenharia S.A/APK/Sociedade para Catalogação de Obra de Alfredo Volpi, 1997, no. 1331. View Lot Notes > Italian-born Alfredo Volpi moved to São Paulo in 1898 and became one of the leading Brazilian modernist painters, despite the fact that he was self-taught and was never actually naturalized as a Brazilian citizen. Volpi began his artistic career as a young boy in 1914, first as a decorative painter, working on houses and building façades, and only later during the 1930s as a participant in the Grupo Santa Helena (or Santa Helena Group) of painters, where he was one of several prominent artists of Italian origin. During the 1940s, he frequently visited Itanhaém, a scenic colonial town located on the São Paulo coast where he indulged his passion for Brazil's colonial art, producing numerous works with folkloric and religious themes. His first exhibit at the age of 48 was in Galeria Itá in São Paulo in 1944, and Mario Schenberg's text accompanying the works described Volpi as in search of a Matissean purity of color. Volpi would later confirm this search stating, "For me there is only color"[1] The exhibit was a huge success and the paintings sold out. It was during the same year that Volpi gave up oil paint adapting instead tempera paint whose opacity became a hallmark for his most well known work. In 1950 he first traveled to Europe to participate in the 25th Venice Biennial and spent time in Italy, where he was captivated by Giotto frescos from the 14th century. It is only after his return from Europe that Volpi gradually moved toward abstraction in a series of naïf compositions that straddle the figurative and the abstract. It was through his depictions of façades and banners that Volpi began to experiment with a different spatial organization of the canvas, one that was in line with the reigning constructivist tendencies. In 1953 he won the Best National Painter award (he shared this prize with fellow painter Emiliano di Cavalcanti) at the 2nd São Paulo Biennial. He was later invited to exhibit at the First National Exhibit of Concrete Art in 1956. The 1960s are generally considered to be his most fruitful decade. Fachada is an exemplary work from this time, depicting the thematic, technical, and chromatic variations that are immediately recognizable as Volpian. Rather than represent a façade, the artist breaks it down into its essential modular parts, prioritizing a composition that relies on the playful repetition and interaction of forms and colors. His signature treatment of tempera on canvas, make visible the layered brushstrokes, declaring the presence of the artist's hand against the dominance of an industrial and mechanical aesthetic often favored by other concrete artists. Elena Shtromberg, Ph.D., Assistant Professor, Department of Art and Art History, University of Utah 1 Vanda Mangia Klabin, Seis perguntas sobre Volpi (São Paulo: Instituto Moreira Salles, 2009), 10.
Alfredo Volpi - Bandeirinhas Com Mastros E Fita

Alfredo Volpi - Bandeirinhas Com Mastros E Fita

Original 1968
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Gross Price
Lot number: 68
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Description:
Lot Description Alfredo Volpi (Brazilian 1896-1988) Bandeirinhas com mastros e fita signed 'A. Volpi' (on the reverse) tempera on canvas 28¼ x 41 in. (71.7 x 104.1 cm.) Painted circa 1968. Provenance Acquired directly from the artist, São Paulo (circa 1968). Pre-Lot Text PROPERTY FROM A NEW ENGLAND COLLECTOR View Lot Notes › Alfredo Volpi was born in Lucca, Italy, and arrived with his parents in São Paulo as an infant. There, he grew up in the working class neighborhood of Cambuci and started painting in his teens. From a working-class background and self-taught, Volpi was not part of the avant-garde movements that emerged in São Paulo in the 1920s, most notably after the 1922 Semana de arte moderna, and led by members of the city's intellectual elite --Mario de Andrade, Oswald de Andrade, Sérgio Milliet, Tarsila do Amaral, Anita Malfatti, Emiliano Di Cavalcanti, Lasar Segall, and Heitor Villa-Lobos, among others--even though he was aware of their activities and exhibitions, and attended Marinetti's lecture in São Paulo in 1926. Instead, after having exhibited in group shows but supporting himself as an interior decorator and craftsman, he joined the Grupo Santa Helena, a spontaneously formed association of artists from immigrant and proletarian backgrounds that had begun to meet during the mid 1930s in the Santa Helena building, in downtown São Paulo, where they rented rooms to use as studios. They progressively gained visibility and started exhibiting their work in different venues and exhibitions, such as the 1937 Família Artística Paulista where the work of some of the Santa Helena members, including that of Alfredo Volpi, was shown alongside that of artists belonging to the elite avant-garde movements. As a result, they attracted the attention of members of the aforementioned avant-garde such as Sérgio Milliet and Mário de Andrade, who were specifically interested in their proletarian origins and the role that this background played in the formulation of their art. Like many in the group, Volpi favored themes such as marine landscapes and popular street festivities in rural and working class neighborhoods, the color flags, bandeirinhas, that adorned these street fairs would later become a leit motif in his work, the form of which would become a constant in his abstract paintings. Volpi had his first solo show at the Galeria Itá in São Paulo in 1944, and in 1950 he travelled to Italy where he had the chance to study the medieval and Renaissance painters who had been his life-long influences, Giotto in particular. Throughout the 1940s and 1950s, he was in dialogue with younger artists working in the direction of geometric abstraction and Concrete art such as Waldemar Cordeiro of the Ruptura group; Willys de Castro; Hércules Barsotti; Decio Pignatari, and the brothers Augusto and Haroldo de Campos of the Noigandres group; as well as the critic Mario Pedrosa who was his contemporary. The 1968 work Bandeirinhas com mastros e fita features his trademark flag motif in a dynamic composition in which the combination of different and vibrating colors organized in rhomboid and square shapes recall the movement of a flag in the wind. Aside from the bandeirinha the artist introduces the mast and the banner, suggested by a structure of color and form, that rhythmically punctuates the work. Volpi was a remarkable colorist, and color was both a structural element and organizing principle in his compositions. He favored the use of tempera over other types of paint, perhaps in reference to his medieval influences, but also to attain a tonal effect that is emblematic of his work and unique style. Julieta González, independent curator
Alfredo Volpi - Fachada

Alfredo Volpi - Fachada

Original 1950
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Gross Price
Lot number: 24
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Description:
24 BRAZILIAN ALFREDO VOLPI Fachada, 1950 tempera on canvas 9 1/2 x 13 in. (24.1 x 33 cm) Signed "A. Volpi" on the reverse. ESTIMATE $40,000-60,000 PROVENANCE Private collection, Sao Paulo Conditions of Sale The property is being sold as a collector’’’’s item to be displayed only. It has been partially deconstructed and therefore its physical integrity may be compromised. It is not intended for road use and is not being sold as a means of transportation. Certificate of Title A certificate of title may be necessary in order for the purchaser to acquire marketable title to the property and would be required if the property were to be used as a motor vehicle within the United States of America. Phillips makes no warranties or representations in connection with any existing vehicle regulation or certificate of title or with the issuance of any new certificate of title by any state of the United States or any foreign government. 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