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Mario Sironi
(Sassari, 1885 – Milano 1961)
Venus of the Ports,
1919 Tempera and collage on paper,
cm 98 x 73,5
Milan, Civiche Raccolte d’Arte, Boschi Di Stefano Collection

The work is a witness to the artist’s transition from late Futurist experiences to the first attempts at Pittura Metafisica, evident in the monumental female figure similar to a tailor’s mannequin. Erroneously attributed on stylistic grounds to the years 1914-15, the Venus of the Ports later was re-dated to 1919, based on the date of the newspaper La tribuna in the collage. Sironi chose to use different kinds of paper (sketchpad, book, newspaper) based on their different coloration, not only in his exploration of material, but also to realize a robust plastic compositio.

Piero Manzoni
(Soncino, 1933 – Milano, 1963)
Egg with Thumbprint,
1960 Egg, ink, cotton wadding and wood,
cm 5,6 x 6,8 x 8,2.
n. 34 Milan, Civiche Raccolte d’Arte, Boschi Di Stefano Collection

With the eggs, presented for the first time on June 10, 1960, at the Galleria Kopcke in Copenhagen, Manzoni began his efforts to demonstrate the ‘consumption of art works’: the artist considered these pieces really and truly eatable sculptures. The intent was to create a direct rapport between the work and the spectator. Egg with Thumbprint, n. 34, is part of a series- numbered and preserved in specially-built wood boxes signed and dated on the inside - limited to 51 examples that are marked with the artist’s thumbprint.

Alberto Savinio
(Andrea de Chirico, Atene, 1891 – Roma, 1952)
Annunciation ,
1932 Oil on canvas, cm 99 x 75
Milan, Civiche Raccolte d’Arte, Boschi Di Stefano Collection

Among the masterpieces of Savinio, the Annunciation belongs to a series of bird-headed portraits realized by the artist starting in 1930. The ironic metamorphosis of humans and animals - in evident relationship with European Surrealism trends - is present here in an even more original way, thanks to the unusual polygonal arrangement of the stretcher bars, altering the traditional perception system of the painting. Signed at the bottom on the right, the work was acquired by Francesco Di Stefano at the 1933 one-man show held at the Galleria Milano, Milan.

 

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