λ RENZO VESPIGNANI (ITALIAN 1924-2001), NATURA MORTA CON PESCARE

λ RENZO VESPIGNANI (ITALIAN 1924-2001) NATURA MORTA CON PESCARE Oil on canvas Signed and dated 1963 (lower right) 102 x 70.5cm (40 x 27¾ in.) Provenance: Sale, Asta Finarte, Milan, 17 April 1989, lot 207 Private Collection (acquired from the above) Sale, Christie's, Italy, 24 May - 7 June 2023, lot 157 Literature: Valerio Rivosecchi, Renzo Vespignani, Catalogo regionato dei dipinti 1943-2001, Milan, 2011, p. 188, no. 284 (illustrated with incorrect date and orientation) The painter, printmaker, illustrator and set designer, Renzo Vespignani's art was formed during the Second World War and especially the bombing of his native Rome, the fall of fascism and the occupation of Rome by Germany in 1943. His early work is both a record of and a comment on the ravages and depravations caused by war, contrasting with post-war reconstruction and economic boom. After the war, Vespignani worked as a writer and illustrator for various political and literary magazines and in 1956, he co-founded Citta Aperta, a magazine exploring the city's cultural issues. He became part of the wave of Neo-Realists working in Italy and was particularly engaged in capturing life in the poorer areas of Rome. By the late 1950s, however, he began to develop a more existentialist imagery. In 1963, along with other leading contemporary Italian artists he founded the group Il Pro e Il Contro, which sought to develop new critically and intellectually engaged figurative art. Vespignani also worked with several of the leading artistic directors of the period, designing stage sets for theatre, dance and opera. His work was exhibited at the Venice Biennale on four occasions in 1950, 1954, 1960 and 1984. In 1999, he was appointed President of the National Academy of St Luke and Grand Officer of Merit of the Italian Republic, publicly recognizing Vespignani's contribution to Italian culture and art. Condition Report: The canvas is not relined. There is a white scuff running under and through the signature. There is some light surface dirt. Ultraviolet light reveals no evidence of retouching. Condition Report Disclaimer, λ, λ RENZO VESPIGNANI (ITALIAN 1924-2001), NATURA MORTA CON PESCARE, Oil on canvas, Signed and dated, 1963, (lower right), 102 x 70.5cm (40 x 27¾ in.), Provenance:, Sale, Asta Finarte, Milan, 17 April 1989, lot 207, Private Collection (acquired from the above), Sale, Christie's, Italy, 24 May - 7 June 2023, lot 157, Literature:, Valerio Rivosecchi, Renzo Vespignani, Catalogo regionato dei dipinti 1943-2001, , Milan, 2011, p. 188, no. 284 (illustrated with incorrect date and orientation), The painter, printmaker, illustrator and set designer, Renzo Vespignani's art was formed during the Second World War and especially the bombing of his native Rome, the fall of fascism and the occupation of Rome by Germany in 1943. His early work is both a record of and a comment on the ravages and depravations caused by war, contrasting with post-war reconstruction and economic boom. After the war, Vespignani worked as a writer and illustrator for various political and literary magazines and in 1956, he co-founded, Citta Aperta, , a magazine exploring the city's cultural issues. He became part of the wave of Neo-Realists working in Italy and was particularly engaged in capturing life in the poorer areas of Rome. By the late 1950s, however, he began to develop a more existentialist imagery. In 1963, along with other leading contemporary Italian artists he founded the group, Il Pro e Il Contro, , which sought to develop new critically and intellectually engaged figurative art. Vespignani also worked with several of the leading artistic directors of the period, designing stage sets for theatre, dance and opera. His work was exhibited at the Venice Biennale on four occasions in 1950, 1954, 1960 and 1984. In 1999, he was appointed President of the National Academy of St Luke and Grand Officer of Merit of the Italian Republic, publicly recognizing Vespignani's contribution to Italian culture and art. Condition Report:, The canvas is not relined. There is a white scuff running under and through the signature. There is some light surface dirt. Ultraviolet light reveals no evidence of retouching. Condition Report Disclaimer

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