Antonio Sanfilippo (Partanna 1923 – Rome 1980), Untitled
Tempera on cardboard cm 100 x 70 signed (Sanfilippo) and dated (1963) lower right, with authentic released by Archivio Accardi Sanfilippo, Rome, curated by Antonella Sanfilippo.
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«What up until then had been the rigor, almost implacability of the new ‘reality’ (completely independent now by the naturalistic referent and the subsequent process of abstraction made against him) that concrete painting claimed for itself, as it had been axiom and certainty it crumbles, now, and is lost: like those residues of an eroded geometrism that now more rarely appear, ‘figures’ now uncertain and collapsing, besieged by the clear background that everywhere assaults them, in the riotous spatiality of the painting. They slobber and quiver, those bodies thin and violated by an acceleration frant of pictorial work: they lose the integral plastic purity of the past, the impenetrability of the bodies to the air that surrounds them; and it is in this first unknown rush that it sank first, then it takes its definitive form, that way that will soon be called the “sign” of Sanfilippo» (Fabrizio D’Amico).
Precisely of that “sign”, to which Sanfilippo, one of the founders in 1947 of the Forma 1 group with P. Dorazio, A. Perilli, P. Consagra and G. Turcato, arrived in the two-year period ’53 – ’54, leaving behind the concretism of cubist and constructivist matrix, the work presented here is a superlative proof: the concept of space developed by the Sicilian painter emerges, a space “to be filled, as a popular, to thicken: with a horror vacui that is, first of all, love for the original form”.
The work, crossed by small colored backgrounds, from a forest of color symbols, derives from the reflections elaborated by Sanfilippo after the second trip to Paris, made in January of ’51 with Carla Accardi (who had married in September of ’49) , during which, not only rediscovers the poetics of Arp and Kandinsky, but he personally knows Hans Hartung, whose influence will be decisive for his painting, and Alberto Magnelli, who is already very present, at least since ’48.
His most typical ‘figure’, made up of a sort of cloud or galaxy of minute and colorful signs to which he entrusts his first notoriety in the field also internationally and which presents in numerous exhibitions in Italy and abroad, is the absolute protagonist of this masterpiece executed in the early Sixties.