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775:, upon the ruins of the old small Sicilian town destroyed by the 1968 earthquake. Began in 1984 and interrupted in 1989, the work was completed in 2015, for the artist's centenary of birth. It is one of the largest works of art ever realized, extending over an area of approximately 85,000 square meters. Its white concrete covering expands over the town, following the old street map in long arterial roads and corridors, which are walkable, thus symbolically bringing the devastated town back to life.
636:) discovered Burri's paintings at the Obelisco Gallery in Rome, and subsequently introduced the artist's work to the United States, in a collective exhibition representative of the new European artistic tendencies. This encounter subsequently led to a life-long friendship with Sweeney becoming an active a proponent of Burri's art in leading American Museums and writing the very first monograph about the artist in 1955. During the same year
720:(White Plastic) series, in which the transparent plastic is laid on a white or black support, were lightly directed by the painter's blowing. The balances of the matter were thus highlighted once again, in a sort of 'defiance' towards of flame's randomness on the one hand, and in a sort of attempt to 'dominate chance', intrinsic to Burri's philosophy, on the other.
667:. The poet was one of the first to understand the painter's revolutionary artistic potential, writing about it since 1951 and working with him to artist's books. He later recalled a common visit to an oil field (for a 1955 reportage for the magazine "Civiltà delle Macchine") as a strong influence for the artist's interest on the use of fire.
1586:. Originally painting signified for Burri a catharsis through action, occasioned by his situation as prisoner of war without sympathy for either of the struggle's main antagonists. The practice of medicine would have represented for him the survival of a past which the course of the events had definitely cut off.
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Burri inherited and cultivated – perhaps not by accident, but due to physically belonging to a place, an area, an architectural and artistic culture, a landscape and permanent stratification – a tendency towards regenerating the bond, as unpronounceable as it is original and primordial, between power
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Città di
Castello: Fondazione Palazzo Albizzini Collezione Burri. p.22: "Cretti therefore mark the start of the move away from the contemplative idea of the surface in favour of the structural, perceptive and dynamic blend of subterranean and potentially unlimited energies, which claime the need for
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His objective, from the very first hour was always and only to perform a healing act. The humblest material which
Rauschenberg was to use in the combine paintings as a social signal, in an explicitly 'new Dada' function, and Arte Povera in an intellectually 'poverty-stricken' manner – was 'redeemed'
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stated that the works had to be done purely in pencil or lead point. Burri replaced the two paintings with the relative "Studio per lo
Strappo" and "Disegno per Rattoppo", one of the rare case in which the artwork precedes the study, produced at a later date. "Studio per Lo Strappo" was purchased by
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Burri did not begins with collage: the first pictures of '48 are all paintings. But in the earliest of them, the first Nero (Black) one, with a little blue square (and round and oval elements), the passage from shiny to opaque black acts not as a color but as material, like the right and wrong sides
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The second collection is that of the Città di
Castello former tobacco drying sheds, an industrial structure gradually abandoned during the 1960s and inaugurated in 1990, expanding over an area of 11,500 square meters. At present, the structure features the totality of large cycles of painting by the
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as a combat medic. Army records show that within 20 days of this order, Burri received a temporary discharge to allow him to complete his medical internship and gain the diploma to qualify as a medical doctor. Burri claimed he studied art history, because he wanted to be able to understand the works
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Employing a special mixture of kaolin, resins and pigment, the painter dried its surface with the heat of an oven. Burri arrested the heating process at the desired moment using a PVA glue layer, thus obtaining greater and lesser cracking effects, which were always balanced thanks to the painter's
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In accordance with the painter's will, the
Fondazione Palazzo Albizzini was established in Città di Castello in 1978, in order to copyright Burri's own work. The first museum collection, inaugurated in 1981, is the one situated inside the Albizzini Renaissance apartment building. The 15th century
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on a private school in Città di
Castello. On his return from North Africa, Burri and his younger brother Vittorio were enrolled in the medical school in Perugia, and following his African adventure, Burri decided he wanted to specialize in tropical diseases. Burri graduated from medical school in
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If you look in magazines from the 1950s, Burri was sharing the same platform with most of the
American Abstract Expressionists, yet for some reason he has fallen into almost total oblivion. Burri is enormously important in that postwar period and influential internationally... I don't think there
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The noun 'cretto' – from the verb crettare in rare old Tuscan
Italian – refers to small cracks that appear in plaster walls. The wod was originally most often used to describe the cracks that might appear in the 'intonaco' of a fresco. The term is therefore not only descriptive but links Burri's
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The work was built on the occasion of the 1973 Milan
Triennale, then demolished in 1989 by the municipality. It was reconstructed in 2015 for the artist centenary of birth (with the support of NCTM law firm) and donated to the Comune of Milano and the Triennale Foundation. Scardi, Gabi (2015).
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Association. Using the limited amount of materials available in the camp he took on the activity of painting, at the age of almost 30 and without any kind of academic reference. Meanwhile, the tragic death of his younger brother
Vittorio on the Russian front in 1943 had a strong impact on him.
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or hunchbacked-formed paintings beginning in 1950 were a forerunner), process art (from his "Muffe", in which mold changed the work, to his use of fire), monochromatic painting, and abstraction in general. Burri's relation to his contemporaries, the French Nouveaux Realists, and to his direct
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The division of the Cellotex's geometric purity, from which the shape of the 'quadrant' emerges in pure gold – found a perfect contrast immediately after the tempera.. Their corresponding sensations of equilibrium remind us of the fascination o the ancient aesthetic speculations on the golden
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Once Burri returned to Italy on 27 February 1946, his decision collided with the severe post–World War II recession and his parents' dissatisfaction. He moved to Rome as a guest of the violinist and composer Annibale Bucchi, his mother's cousin, who encouraged his activity as a painter.
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The formal artistic elegance and the spatial balances obtained through aeroform steams, craters, rips, overlapping color layers and different forms, differentiated Burri's art, founded on attentive reflections and precise calculations, from the impulsive gestures that characterized
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to its name), an industrial mixture of wood production scraps and adhesives, very often used in the making of insulating boards. Up to then, the painter had used this material in his previous works since the early 1950s as a support for his acetate and acrylic works.
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edited by the current Foundation chairman Bruno Corà, which foregrounded the radical change in traditional Western painting and modern collage brought about by Burri, while also focusing on his 'psychological' recovery of classical painting's formal balances alive.
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curated by Bruno Corà established a comparison between the epigones of 20th century material art. The exhibit was held in Città di Castello, in the exhibition space of the former tobacco drying sheds which, since 2017, house the painter's graphic collection.
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His contribution is not limited to the development of Abstract Expressionism, but also is evident in the tradition of collage, assemblage (especially Rauschenberg who visited Burri's studio two times in 1953), shaped canvases (for which Burri's
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His 1948 "Nero 1" (Black 1) was later taken by the artist as initial milestone of his painting and established the prevalence of the black monochrome, which will be maintained as close identity throughout his career, alongside white, since
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design and limit. With all the naturalness of physiological processes, the dynamic and self-referential proliferation of the tesserae pushes towards the natural geometry of a halting station marked by the time of its 'duration
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During the Seventies Burri's art saw a gradual transition towards wider dimensions, while retrospectives followed one another around the world. The great solo exhibition crossing the United States in 1977–78 and ending at the
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The structure's black exterior and the particular space adaptations represent one last attempt by Burri to create a total work of art, in continuity with the idea of formal and psychological balance he constantly pursued.
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From 1963 on, Burri and his wife started spending their winters in Los Angeles. The painter progressively detached himself from the city's artistic community, deeply focusing on his own work. During his recurrent trips to
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2287:, which many critics were considering his major works, to emancipate his production from the "lazy crystallization of his expressive message" (Pirovano, Carlo. 2015. "Burri, the Investigation of Space". In Corà, Bruno.
1191:, where he presented his first abstract works the following year. Brin and her husband, Gaspero del Corso founded the Obelisco Gallery, the first art gallery to open in Postwar Rome, featuring the 1952 solo exhibition
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wrote an homage to commemorate the painter's passing in 1995, commissioned by Città di Castello's Festival delle Nazioni. For the same festival the former tobacco drying sheds became the setting of a composition by
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Burri intuition was decisive. For centuries, art history has posited a kind of duality in which matter served as artist's tool, as the factor that, to become form, must necessarily be subjected to an operation of
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visited the painter's studio two times: despite the linguistic differences between the two artists prevented them to talking to each other, Rauschenberg's visits provided substantial input for the creation of his
503:(Hunchbacks), Burri focused on the painting's spatial interaction, achieving another original outcome due to the incorporation of tree branches on the rear of the canvas which pushed two-dimensionality towards
987:'s frescos in the small oratory of San Crescentino, only few kilometers far from Burri's country house in Città di Castello; a further example of how modern and contemporary are mentally close in Burri's art.
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Shutting himself off from the rest of the world, and depicting figurative subjects on thick chromatic marks, he progressively realized the desire of abandoning the medical profession, in favor of painting.
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Canvas, in the humble version of jute, the favorite support in every epoch, was no longer merely the material in which to paint, but the painting itself, the work. In a word, matter became the subject
495:(Molds) literally presented the spontaneous reactions of the materials employed, enabling matter to 'come to life' in drippings and concretions which reproduced the effects and appearance of real
1359:, sold for £4,674,500 (estimate range of £600,000 to £800,000). The work (signed and dated on the back) in plastic, acrylic and combustion (4 ft x 5 ft) was made between 1960 and 1961.
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After a few sporadic attempts, in 1953–54 Burri conducted a carefully planned experimentation with fire, through small combustions on paper, which served as illustrations for a book of poems by
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the Englishman Gwyther Irwin, came to adopt the legno procedure in 1961, and that the colorful French artist, Yves Klein also made his first fire paintings with a flame-thrower in the year 1961
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Theater had a privileged role in Burri's artistic production. Though in isolated interventions, the painter worked in the fields of prose, ballet and opera. In 1963 Burri designed the sets for
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The studio is thick-walled, whitewashed, neat and ascetic; his work is 'blood and flesh', reddened torn fabric that seems to parallel the staunching of wounds that Burri experienced in wartime
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While in Rome, he had the chance of establishing a contact with the few but very active institutions dedicated to painting, which were creating a new platform for visual arts after the war.
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glue, this last material being elevated to the same importance as oil colors. During this artistic transition, the painter showed his sensitivity to the mixed-media type of abstraction of
1140:". Maurizio Calvesi adopted a psychoanalytic reading during the years, finding "ethical values" in his art, identifying at the same time the Renaissance origins of Burri's homeland:
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Burri never considered graphic art of secondary importance to painting. He participated intensively in the experimentation of new printing techniques as the 1965 reproduction of the
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Burri's entire artistic production was conceived by the author as an inseparable whole of form and space, both in painting and in sculpture. An example is the recurrent motif of the
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Alberto Burri is recognized as a radical innovator of the second half of the twentieth century, as a precursor of the solutions found by such artistic movements as
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elementary school teacher. In 1935, Burri attended a government High school in Arezzo living as a boarder in a pension, and as his school reports noted, he studied
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Sarteanesi, Nemo (1996). "The Fondazione Albizzini Collezione Burri in Città di Castello". In Tolomeo, Maria Grazia, & Christov-Bakargiev, Carolyn (1997).
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would have inspired in Burri the sense of space and solemnity of the masses which the painter then transferred on the combusted woods or the worn-out sacks.
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material, but as an actual color which – by way of different lucid and opaque shades in monochrome black–, blended itself with the totality of the painting.
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The blowtorch was only apparently a destructive device. Indeed, the craters modeled by the flame on cellophane, black, red or transparent plastic or on the
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did not win the public's understanding and were instead considered as extremely far from the notion of art. In 1952, year of his first participation at the
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and Libero De Libero. However, Burri's artistic production flowed definitively into abstract forms before the end of the same year, the use of small format
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Calvesi, Maurizio (1959). "Quadrum 7: International Magazine of Modern Art". Brussels: L'Association pour la Diffusion Artistique et Culturelle (A.D.A.C.).
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Burri's artistic research became personal in short time, between 1948 and 1950 he began experimenting with using unusual, 'unorthodox' materials such as
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Burri's first solo figurative artworks exhibition took place on 10 July 1947 at the gallery-cum-bookshop La Margherita, in Rome, presented by the poets
1427:, with Burri's sets and costumes, was proposed again in 2015 by the Guggenheim Museum, New York. In 2016 choreographer Virgilio Sieni created the work
953:– in which the husband and wife team of Valter and Eleonora Rossi perfectly succeeded in mimicking the effect of burning on paper –, or the irregular
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590:. In Burri's case, however, there were no social or symbolic implications, the painting's formal and chromatic balance being the only real focus.
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Burri's painting did not aim to substitute reality with the reality of the material, at the contrary, aimed to turn the material into a pure form
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2732:"The artworks of post-war artist Alberto Burri celebrated in his native town of Città di Castello after exhibitions in New York and Dusseldorf"
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Duranti, Massimo (2011)."From form to matter, to abstract form: the development of Alberto Burri's aesthetic devolution". In Duranti, Massimo,
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dominated Burri's entire subsequent production, which was conceived for big spaces such as cathedrals (like the 1981 Cycle in Florence titled
1269:'s Frederick S. Wight Gallery in Los Angeles, moved to the Marion Koogler McNay Art Institute in San Antonio (Texas) and ended in 1978 at the
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Burri's strong relationship with the United States became official when he met Minsa Craig (1928–2003), an American ballet dancer (student of
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Pirani, Federica (1996). "Notes on the critical vicissitudes of Alberto Burri". In Tolomeo, Maria Grazia, & Christov-Bakargiev, Carolyn.
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The strong continuity of Burri's sculptural works with his paintings can also be seen in the Los Angeles UCLA and Naples Capodimonte ceramic
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on a dominant and clear geometrical structure, through extremely thin scratched shades or juxtapositions of smooth and rough portions like
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of art that surrounded him. He also studied Greek, a language in which he became proficient, and later in life was able to read and enjoy
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in Rome. The first anthological retrospectives were held around this time and in the following decade, as the solo exhibitions at the
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similarly had in the very first monograph on Burri published in 1955 – implying a criticism towards a certain post-war ethical drift.
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Gallery in Florence 1994, by which time he was already beginning to be considered more of a 'classical' than a 'contemporary' artist.
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highlighted the essentialness of Burri's painting and his rejection of both decorative detail and the historical avant-gardes' (e.g.
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in a prisoner-of-war camp housing around 3000 Italian officers, where he began painting. After his liberation in 1946, he moved to
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Christov-Bakargiev, Carolyn (1997). "Alberto Burri, The Surface at Risk", in Tolomeo, Maria Grazia, Christov-Bakargiev, Carolyn.
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Christov-Bakargiev, Carolyn (1997). "Alberto Burri, The Surface at Risk", in Tolomeo, Maria Grazia, Christov-Bakargiev, Carolyn.
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successors in the use of poor materials, the artists of Arte Povera, provide other areas of rich critical research still to come
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2720:. Venezia: stamperia di Venezia. Republished in "Salvezza e caduta dell'arte moderna". Milan: Il Saggiatore. 1964. pp. 259–263
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and beauty, which he often claimed to be incapable of speaking of, but which, in the final analysis, emanates from all his art
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by Burri through aesthetic means, becoming instrumental to the attainment of a inevitable, entirely necessary goal of beauty
292:, Alberto Burri's name is often mentioned. Carolyn-Christov-Bakargiev mentioning him in the January 2005 issue for example.
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Prevented from practicing his medical profession, Burri had the opportunity of choosing a leisure activity thanks to the
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Pirani, Federica (1997). "Interview to Pierre Restany". In Tolomeo, Maria Grazia, & Christov-Bakargiev, Carolyn.
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Alberto Burri General Catalogue. Volume IV. Tempera, Drawing, Architecture, Sculpture, Theatre, Set Design 1946–1994
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The Murray and Isabella Rayburn Foundation, New York, 5 Nov – 10 January. Exhibition catalog. Milan: Charta. p. 22.
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A telling fact is that Burri used the money from the Feltrinelli Prize for graphics – awarded to him in 1973 by the
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Alberto Burri General Catalogue. Vol. IV Tempera, Drawing, Architecture, Sculpture, Theatre, Set Design 1946–1994
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Fontanella, Megan (2015)."Begun Behind Barbed Wire: Alberto Burri's Early Career in America". In Braun, Emily.
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795:(The Journey) Burri retraced, through ten monumental compositions, the key moments of his artistic production.
559:: color almost entirely disappeared, leaving space for the surface material so that painting coincide with its
2367:(texts by Bruno Corà, Carlo Bertelli). Città di Castello: Fondazione Palazzo Albizzini Collezione Burri. p.20.
698:(Plastics) during the Sixties, when a gradual critic openness towards Burri's art showed up in Italy as well.
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Sarteanesi, Chiara (2015). "Tradition and Innovation in Alberto Burri's Graphic Art". In Corà, Bruno (ed.).
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Sarteanesi, Chiara (2016). "Burri e Signorelli: un omaggio". In Iori, Aldo, & Cecchetti, Catia (2016).
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Richter, Petra (2016). "Alberto Burri on the German Scene from 1950s to the 1970s". In Corà, Bruno (2016).
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765:(Large Cracks) made of baked clay (both 49 x 16) and, most importantly, in the vast cement covering of the
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Tomassoni, Italo (2015): "Alberto Burri: His Cretti (Cracks) and Their Roots in the History of Art". In
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using marble dust and sand to create printing surfaces with certain textural three-dimensional effects.
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More recently, Burri's position has been reevaluated thanks to the 2015 major retrospective exhibition
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Burri's career began in Rome with a first solo exhibition in 1947 at La Margherita bookshop, owned by
361:; his first solo exhibition took place at the La Margherita Gallery in 1947. He then exhibited at the
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2267:. Città di Castello: Fondazione Palazzo Albizzini Collezione Burri. exhibition catalogue. pp. 13–17.
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Carandente, Giovanni (2007). "Burri: memories of a friendship, 1948–1988". In Palumbo, Piero (2007).
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Carandente, Giovanni (2007). "Burri: memories of a friendship, 1948–1988". In Palumbo, Piero (2007).
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Carandente, Giovanni (2007). "Burri: memories of a friendship, 1948–1988". In Palumbo, Piero (2007).
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Tomassoni, Italo (2016). "Burri, de Kooning, Pollock: Parallel Convergences". In Corà, Bruno (ed.)
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Corà, Bruno (2015). "Burri and the Cellotex Works: a Common Denominator in Material Painting". In
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McEvilley, Thomas (1986). "Mute Prophecies: The Art of Jannis Kounellis". In Jacobs, Mary Jane.
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Diacono, Mario (2016). "Burri and/or America: the Ground Zero of painting", in Corà, Bruno (ed.)
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at the Origine Foundation in 1952, in confirmation of his increasingly original production. The
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artist, monumental sculptures and, from March 2017 on, the painter's entire graphic production.
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He remained a reserved artist, ceaselessly working and creating, initially in a small studio in
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Celant, Germano (1994). "Burri vs Rauschenberg". In Celant (Germano), & Costantini (Anna).
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Carandente, Giovanni (2007). "Burri: Memories of a Friendship 1948–1988", in Palumbo (Piero),
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871:(Large Iron) exhibited in Perugia on the occasion of the 1980 meeting between the artist and
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The artist's record was established in 2016 in London when, during the evening dedicated by
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in its total autonomy, as it was no more separation between painting surface and its form.
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Jacob, Mary Jane (1986). "Annottarsi 2: A reintroduction to the art of Alberto Burri". In
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683:(Woods) around 1957, in thin sheets of wood veneer fastened to canvas and other supports.
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Butterfield, Jan (1982). "Alberto Burri: Umbrian Echoes and Alchemical Implications". In
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Lucio Fontana, the only major recognition received by the Umbrian master on this occasion
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Città di Castello: Fondazione Palazzo Albizzini Collezione Burri. Exhibition catalogue.
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Melandri, Luisa (2010). "Resident outsider". In Melandri, Luisa, with Duncan, Michael.
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Alberto Burri's art captured the interest of many contemporary artist colleagues, from
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2773:"Post-Sale Release: The Post-War & Contemporary Art Evening Sale and Italian Sale"
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Marshall Plan modernism: Italian postwar abstraction and the beginnings of autonomia
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Los Angeles: Frederick S. Wight Art Gallery Editions. Exhibition catalogue. p. 46:
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At the conclusion of the centenary of Alberto Burri's birth, the exhibition titled
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interpreted Burri's employment of material from an existential point of view – as
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Corà, Bruno (2015). Olivieri, Rita; Pirovano, Carlo; Sarteanesi, Tiziano (eds.).
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works to the mural traditions of his native Italy – and to Renaissance art-making
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series for the 2015 edition poster, celebrating the artist's centenary of birth.
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literature. On 8 May 1943 the unit he was part of was captured by the British in
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Throughout the years, fashion designers have drawn inspiration from Burri, from
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In the “Overrated and Underrated” column published by the American art magazine
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2447:. Città di Castello: Fondazione Palazzo Albizzini Collezione Burri. pp. 12–21.
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From 1953 on, Burri regularly exhibited his works in the United States, at the
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movement and described his style as a polymaterialist. He had connections with
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London sale of works from a private collection in the north of Italy, Burri’s
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New York: The Murray and Isabella Rayburn Foundation. Exhibition catalogue: "
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the artwork was sold for over £9 million, thus doubling the previous record.
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marked its turning point in 1960, when he was offered his first solo area by
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in New York. In the same year, the director and curator of Guggenheim Museum
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Starting in 1952 Burri achieved a strong, personal characterization with the
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Alberto Burri General Catalogue. Vol. VI. Chronoligical Repertoire 1945–1994
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890:(Continuous Theatre) is both real scenic space and sculpture, employing the
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2547:
Kiefer, Anselm (14 July 2013). "Un titano con il quale dialogo da sempre".
2017:. Fondazione Palazzo Albizzini Collezione Burri. Città di Castello. p.29: "
1397:
1363:
1344:
1265:
Sacred Convent (1975) and the great traveling exhibit which started at the
1204:
907:
872:
664:
655:. They stuck together through thick and thin, for the rest of their lives.
628:
Burri's work received a different and positive consideration in 1953, when
469:
402:
329:
3550:
Fondazione Palazzo Albizzini "Collezione Burri", with photographs of works
2499:
Città di Castello: Fondazione Palazzo Albizzini Collezione Burri. p. 21: "
2102:. Città di Castello: Fondazione Palazzo Albizzini Collezione Burri. p.50.
1984:. Città di Castello: Fondazione Palazzo Albizzini Collezione Burri. p.50.
1833:"'I Will Not Be a Sunday Painter': Alberto Burri Makes a Picture, in 1954"
798:
The privileged material during this phase is Celotex (the author added an
429:
1382:, who drew inspiration from the painter's material research for his 1964
1308:
1101:
1085:
586:
contained in the artwork anticipated the use of the same subject made by
531:
and his friendship with Ettore Colla, which brought Alberto close to the
528:
257:
233:
167:
119:
2013:
Sarteanesi, Chiara (2016). "The Seasons of Burri". In Corà, Bruno (ed.)
1633:. The column published by the American art magazine Art News. Quoted in
328:
1940, and on 12 October that year, two days after Italy's entrance into
2533:
Michelangelo Pistoletto and Jannis Kounellis interviews in Luca Severi
1188:
1133:
999:, where he had moved for the ease of living and because of a pulmonary
973:
691:
574:
Burri offered an initial view of these peculiar elements in 1949, with
535:(established and disbanded in 1951 by Colla himself, Mario Balocco and
265:
2222:. Los Angeles: Santa Monica Museum of Art. Exhibition catalogue. p. 22
319:
to Pietro Burri, a tuscan wine merchant, and Carolina Torreggiani, an
3549:
2887:
Braun, Emily, with Fontanella, Megan, & Stringari, Carol (2015).
1821:
Iori, Aldo (2016). "Rome 1947–1958: From Europe to America and Back".
1436:
1378:
Alberto Burri's art has inspired many Italian directors, among which
1000:
843:
807:
772:
753:
either black or white, also in sculpture, on large extensions in the
709:
457:
253:
245:
2604:. Città di Castello: Fondazione Palazzo Albizzini Collezione Burri.
1531:(Centro sperimentale di Cinematografia sezione documentario Sicilia)
1942:
1940:
1112:
1089:
911:
883:
856:
358:
324:
237:
3452:
Trucchi, Lorenza (2007). "Nobilis et Humilis" in Palumbo (Piero),
2747:"Sotheby's Faces Protest as Freud, Burri Top $ 63 Million Auction"
2535:
Alberto Burri and Piero della Francesca : The two revolutions
2524:. Chicago: Museum of Contemporary Art. exhibition catalogue. p. 19
1351:(1957) was auctioned for 3.2 million in 2011. On 11 February 2014
3445:
Tolomeo, Maria Grazia, & Christov-Bakargiev, Carolyn (1997).
3288:. Los Angeles: Santa Monica Museum of Art. Exhibition catalogue.
3216:
1300:, and then at the Italian Institute of Culture in Madrid (1995).
1059:
995:
Alberto Burri died childless on 13 February 1995 in Nice, in the
964:(1987–89) – with the help of Burri's old friend and collaborator
960:
Further innovative developments can be found in the silk screens
823:
587:
477:
421:
346:
289:
64:
1937:
1022:(Gold and Black), was donated by the artist among others at the
3246:
Alberto Burri, Prominent Artist Of Postwar Italy, Is Dead at 79
3097:
Alberto Burri General Catalogue. Vol. V Graphic Works 1949–1994
1023:
965:
690:(Irons), creations made out of metal sheets cut, and welded by
560:
453:
320:
316:
159:
90:
68:
3579:
3570:
2718:
Alberto Burri in XXX Biennale internazionale d'arte di Venezia
1559:(3D Produzioni/ Fondazione Palazzo Albizzini Collezione Burri)
850:– a work presented at 1984 Venice Biennale –, and in the 1972
806:
After that Cellotex was used for cyclical series conceived as
349:
and was later turned over to the Americans and transferred to
3589:
Video documentary dedicated to the Grande Cretto in Gibellina
3031:
Alberto Burri General Catalogue. Vol. III. Painting 1979–1994
1138:
the monumental outsider and genial precursor at the same time
851:
778:
621:
asked for the removal of one of the painter's works from the
370:
337:
109:
3582:
Alberto Burri and Piero della Francesca: the Two Revolutions
3573:
Alberto Burri and Piero della Francesca: the Two Revolutions
2998:
Alberto Burri General Catalogue. Vol. II. Painting 1958–1978
2497:
Alberto Burri General Catalogue. Vol. III Painting 1979–1994
582:
meaning Sack of Sugar, 1): the presence of a portion of the
2247:
Alberto Burri General Catalogue Vol. II Painting 1958–1978.
2175:. New York: Di Laurenti Gallery. Exhibition catalogue. p. 7
1444:
1407:
at Gibellina has functioned several times as a set for the
1266:
1234:
bringing his work to focus in the international community.
972:
series (1988), created with the Los Angeles print workshop
552:
449:
445:
377:
354:
86:
2965:
Alberto Burri General Catalogue. Vol. I Painting 1945–1957
2808:. Exhibition catalogue. Ferrara: Fondazione Ferrara Arte.
2731:
818:(Up to Nite, 1985), as well as in multicolored forms like
2561:
Calvesi, Maurizio, Corà, Bruno, Tomassoni, Italo (2013).
2303:"From Home Improvement to Art: Alberto Burri and Celotex"
1874:
882:
at Gibellina doesn't properly fall under the category of
441:
3303:. Los Angeles: Frederick S. Whight Art Gallery Editions.
3202:(in Italian). Milano-Firenze: Il Sole 24 Ore-E-ducation.
2785:
The Art Market: 'A changed and more discerning market'.
2045:. New York: Gugghenheim Museum Publications. pp.92–112.
1738:
1536:
Alberto Burri e Piero della Francesca le due rivoluzioni
918:
emphasized the dramatic force of such plays as the 1969
2477:
518:(exhibited in Paris the previous year) in the renowned
336:, was then recalled into military service, and sent to
3342:(1996). "Burri e l'estetica". Milan: Mondadori Electa.
3167:
Burri: the space of matter: between Europe and the USA
2678:
Calvesi, Maurizio (2015), "He was a son of Piero". In
2565:. Perugia: Ali&no Editrice. Exhibition catalogue.
2137:
Pittura dell'ultimo giorno, Scritti per Alberto Burri.
1850:
1762:
1678:
1411:
Festival and as set for a 2015 performance by artists
670:
651:) and choreographer whom he married on 15 May 1955 in
499:. In some artworks of the same period which he called
3394:
2836:
Virgilio Sieni official website "Quintetti sul nero"
1803:
1296:
for the exhibit curated by Giuliano Serfafini at the
933:, conceived by his wife Minsa Craig, with a score by
272:, an influence on the revival of the art of post-war
2804:. Torino: Einaudi. p. 297. Païni, Dominique (2013).
1862:
1774:
1726:
1702:
1690:
1599:
1294:
Burri The Athens Polyptych. Architecture with Cactus
542:
1886:
1824:
1750:
1650:
1611:
1006:Just before his death, the painter was awarded the
2201:Pirovano, Carlo (1996). "The Seasons of Fire". In
1714:
1237:Burri's initially seesawing relationship with the
926:, performed in 1975 at the Teatro Regio in Turin.
223:(12 March 1915 – 13 February 1995;
686:In the same period Burri was also working on the
472:. Nonetheless Burri went one step further in his
332:, with an precocious voluntary experience in the
3603:
2889:Alberto Burri: The Trauma of Painting. New York:
2334:Palm Spring Desert Museum. Exhibition catalogue.
1315:. In 2015–16 the major retrospective exhibition
1014:, besides being named an honorary member of the
814:(1981), or in black monochromes variations like
424:resulting from the influence of such artists as
405:but frequently moving out. As a matter of fact,
2806:Lo sguardo di Michelangelo. Antonioni e le arti
1552:(Fondazione Palazzo Albizzini Collezione Burri)
1303:The 1996 posthumous anthological exhibition at
1199:in 1957. The Burri's first exhibition with the
3301:Alberto Burri: A Retrospective View, 1948–1977
3284:Melandri, Luisa, with Duncan, Michael (2010).
3095:Corà, Bruno (2015). Sarteanesi, Chiara (ed.).
2963:Corà, Bruno (2015). Sarteanesi, Chiara (ed.).
2300:
2153:Burri e i poeti. Materia e suono della parola.
1934:Milan: Electa. Exhibition catalogue. pp. 81–83
1355:established the artist's record with the work
200:UNESCO Prize at the São Paulo Biennial (1959)
37:Alberto Burri, photographed by Nanda Lanfranco
3395:Sarteanesi, Nemo; Steingraber, Erich (1980).
2186:Alberto Burri A retrospective view 1948–1977.
1462:which has asymmetric features recreating the
1052:
983:– to promote and support the restoration of
929:In 1973 Burri designed sets and costumes for
744:
389:
206:Grand Prize at the São Paulo Biennial (1965)
202:Critics' Prize at the Venice Biennale (1960)
2996:Corà, Bruno (2015). Tomassoni, Italo (ed.).
1292:. In 1994, Burri presented the cycle titled
1211:(Irons) were held at Galleria Blu in Milan.
1058:Patrician house, belonged to the patrons of
749:Burri reproduced the procedure used for the
706:Grande Bianco Plastica (Large White Plastic)
3163:Burri Lo spazio di materia tra Europa e USA
3029:Corà, Bruno (2015). Bertelli, Carlo (ed.).
2682:. Il Giornale dell'Arte. October 2015. p.7.
2393:Burri Lo spazio di materia tra Europa e USA
2135:Villa, Emilio, ed. Crespi, Stefano (1996).
2100:Burri Lo spazio di materia tra Europa e USA
2015:Burri Lo spazio di materia tra Europa e USA
1982:Burri Lo spazio di materia tra Europa e USA
1332:Burri Lo spazio di materia tra Europa e USA
1157:Burri Lo spazio di Materia tra Europa e USA
922:stage adaptation in San Miniato (Pisa) and
837:
311:Alberto Burri was born on 12 March 1915 in
3468:] (in Italian). Torino: U. Allemandi.
3197:
3189:: CS1 maint: location missing publisher (
3152:: CS1 maint: location missing publisher (
3119:: CS1 maint: location missing publisher (
3086:: CS1 maint: location missing publisher (
3053:: CS1 maint: location missing publisher (
3020:: CS1 maint: location missing publisher (
2987:: CS1 maint: location missing publisher (
2148:Corà, Bruno, & Sicoli, Tonino (2015).
1431:, inspired by the Umbrian master. In 2017
1230:included Burri in the landmark exhibition
1173:For Burri we must speak for an overturned
1132:considered him as a "special case" in the
779:Cellotex and the large cycles of paintings
723:
435:
210:honorary Degree Glasgow University (1991)
31:
3491:Word of Burri: the thoughts of a lifetime
3466:Word of Burri: the thoughts of a lifetime
3259:Alberto Burri: dalla pittura alla pittura
3243:
2483:
2004:Milan: Electa. Exhibition catalogue. p.83
1605:
593:
551:(Sacks), artworks directly obtained from
208:Feltrinelli Prize for Graphic Art (1973)
3591:, produced by art critic and curator dr
3456:, Electa, Milan, 2007, pp. 184–185.
3412:
3338:
3307:
3298:
2231:Melandri, Luisa (2010). Ibidem. p. 23: "
1880:
1856:
1504:Alberto Burri: l'avventura della ricerca
1502:1974 Simongini, Franco. Brandi, Cesare.
957:cavities (1971) with the same printers.
700:
3555:Solomon R. Gugghenheim Museum New York
3486:Parola di Burri: i pensieri di una vita
3433:
3403:
3319:
3265:
3169:] (in Italian). Città di Castello.
2929:
2910:
2901:
2744:
2294:
1744:
1708:
1696:
679:(Combustions) passed from paper to the
617:Again, in 1959 a point of order of the
476:(Tars), presenting tar not as a simple
3604:
3449:. Milan: Electa. Exhibition catalogue.
3367:
3286:Combustione, Alberto Burri and America
3206:
2959:Milan: Electa. 2007, pp. 176–183.
2875:
2770:
2622:Alberto Burri Annottarsi (Up to nite).
2546:
2416:. Mantova: Corraini. Italian/English.
2220:Combustione, Alberto Burri and America
1868:
1830:
1780:
1732:
1684:
1668:
1656:
1634:
1617:
1583:
1232:Younger European Painters: A Selection
1155:and to the 2016 collective exhibition
1012:Order of Merit of the Italian Republic
791:In the 1979 cycle of paintings called
3482:
3459:
3385:
3127:
3094:
3061:
3028:
2995:
2962:
2697:Whitehot Magazine of Contemporary Art
2693:"Alberto Burri: The Allure of Trauma"
2596:
2594:
2580:
2578:
2043:Alberto Burri: The Trauma of Painting
1926:
1924:
1892:
1768:
1756:
1720:
1672:
1635:Sheets, Hilarie M. (1 January 2005).
1509:1976 Quilici, Folco. Brandi, Cesare.
1149:Alberto Burri: The Trauma of Painting
1079:
826:, 1983) or the homage to the gold of
755:University of California, Los Angeles
227:
3557:Alberto Burri The Trauma of Painting
3493:] (in Italian). Milano: Electa.
3371:Alberto Burri: The art of the matter
3160:
2283:The artist polemically excluded the
1809:
1629:Christov-Bakargiev, Carolyn (2005).
1307:(Rome) was successfully repeated at
1163:Among the many historical readings,
1016:American Academy of Arts and Letters
3266:Mansoor, Jaleh (2 September 2016).
3256:
2414:Il Teatro Continuo di Alberto Burri
2301:Dover, Caitlin (13 November 2015).
2084:Serafini, Giuliano (2015). p. 27: "
1577:
1473:In 1987 Burri created the official
671:Combustions, Woods, Irons, Plastics
658:
357:and devoted himself exclusively to
13:
3617:Art Informel and Tachisme painters
3132:. Vol. 6. Città di Castello.
3099:. Vol. 5. Città di Castello.
3066:. Vol. 4. Città di Castello.
3033:. Vol. 3. Città di Castello.
3000:. Vol. 2. Città di Castello.
2967:. Vol. 1. Città di Castello.
2745:Reyburn, Scott (13 October 2011).
2729:
2591:
2575:
1921:
1550:. Alberto Burri Il tempo dell'arte
1545:(Solomon R. Guggenheim Foundation)
741:extensive knowledge of chemistry.
488:(Whites) 1949–50 series, and red.
301:in Spain had there not been Burri.
14:
3698:
3672:20th-century Italian male artists
3584:documentary by Luca Severi (2015)
3575:documentary by Luca Severi (2015)
3509:
3270:. Durham: Duke University Press.
2906:. Milan: Fratelli Fabbri Editori.
2445:Volume V. Graphic Works 1949–1994
2209:Exhibition Catalogue. pp. 114–115
1831:Gendel, Milton (9 October 2015).
1458:, with his 1969 item of clothing
1325:Kunstsammlung Nordrhein-Westfalen
1195:(Molds and Blacks) and the first
1167:'s judgment (written in the 1960
623:Galleria Nazionale d'Arte Moderna
555:fabric widely distributed by the
543:Sacchi and the American emergence
3207:Gendel, Milton (December 1954).
2891:Guggenheim Museum Publications.
2549:Corriere della Sera (La Lettura)
1529:Alberto Burri, La vita nell'arte
1511:L'Italia vista dal cielo. Umbria
1488:
1470:for her (last) 2017 collection.
1319:organized by Emily Braun at the
1171:catalogue) remains emblematic: "
369:and at the Gallery de France in
306:Carolyn Christov-Bakargiev, 2005
3682:20th-century Italian physicians
3406:Pittura italiana del dopoguerra
2868:
2840:
2829:
2818:
2794:
2779:
2764:
2738:
2723:
2710:
2685:
2672:
2659:
2650:
2637:
2614:
2555:
2540:
2527:
2514:
2489:
2457:
2426:
2405:
2385:
2370:
2337:
2324:
2277:
2257:
2239:
2225:
2212:
2195:
2178:
2165:
2142:
2129:
2112:
2092:
2078:
2055:
2035:
2007:
2002:Burri Retrospektive, 1915–1995.
1994:
1974:
1957:
1932:Burri Retrospektive, 1915–1995.
1898:
1815:
1786:
1447:, Los Angeles during the event
1151:curated by Emily Braun for the
944:
941:progressively came into being.
897:
186:
3667:20th-century Italian sculptors
2563:Anselm Kiefer. Omaggio a Burri
2365:Volume III. Painting 1979–1994
2203:Burri: 1915–1995 Retrospektiv.
1662:
1623:
1564:VARIAZIONI: a visual polyphony
1313:Centre for Fine Arts, Brussels
1182:
675:The procedure adopted for the
527:Despite Burri's affinity with
468:, a central figure in Italian
1:
3662:People from Città di Castello
3647:20th-century Italian painters
2825:Alvin Curran official website
2667:Burri 1915–1995 Retrospektive
2378:Alberto Burri form and matter
1593:
1543:Il Grande Cretto di Gibellina
1338:
606:exhibition, the Sacks titled
214:Italian Order of Merit (1994)
3657:Italian contemporary artists
3637:University of Perugia alumni
3540:Resources in other libraries
3447:Burri Retrospektiv 1915–1995
3399:. Città di Castello: Electa.
3198:De Sabbata, Massimo (2008).
2852:UCLA International Institute
2716:Argan, Giulio Carlo (1960).
2647:. Milan: Electa. pp. 126–134
2645:Burri Retrospektiv 1915–1995
2588:. Milan: Electa. pp. 122–125
2586:Burri Retrospektiv 1915–1995
2311:Solomon R. Guggenheim Museum
2173:Burri 18 paintings 1953–1986
1570:
1562:2017 Sterparelli, Giuseppe.
1557:Alberto Burri e la sua città
1439:) performed in front of the
1321:Solomon R. Guggenheim Museum
1271:Solomon R. Guggenheim Museum
1261:in Paris (1972), the one in
1259:Musée National d'Art Moderne
1153:Solomon R. Guggenheim Museum
788:in New York is one example.
786:Solomon R. Guggenheim Museum
634:Solomon R. Guggenheim Museum
384:
252:. He is associated with the
139:Painting, Land art, sculptur
7:
3413:Serafini, Giuliano (2015).
3244:Kimmelman, Michael. 1995. "
1963:Serafini, Giuliano (2015).
1495:1960 Carandente, Giovanni.
1373:
894:park as natural backcloth.
10:
3703:
2915:. New York: Abrams Books.
2911:Calvesi, Maurizio (1975).
2902:Calvesi, Maurizio (1971).
2802:Il cinema e le arti visive
2771:Deyzac, Alexandra (2014).
2352:". In Corà, Bruno (2015).
1323:in New York (later at the
1203:was presented by the poet
1053:Foundation and the museums
914:, in Milan. The painter's
745:Grande Cretto at Gibellina
731:Death Valley National Park
390:From abstraction to matter
101:Città Di Castello cemetery
3559:exhibition page (2015–16)
3535:Resources in your library
3404:Sauvage, Tristan (1957).
3377:(PhD thesis). Melbourne:
3299:Nordland, Gerald (1977).
3261:. Rome: Petruzzi Editore.
2380:. Perugia: Fabbri. p. 16
2343:Sarteanesi, Nemo (1980).
2184:Nordland, Gerald (1977).
2171:Nordland, Gerald (1986).
1527:Davide. Guarneri, Dario.
1366:to the 1959 contemporary
1305:Palazzo delle Esposizioni
1298:National Gallery (Athens)
990:
834:(Black and Gold) series.
514:published the photo of a
196:
173:
155:
143:
135:
125:
115:
105:
97:
75:
42:
30:
23:
3687:Italian abstract artists
3386:Rubiu, Vittorio (1975).
1967:. Milan: Giunti. p.44: "
1631:Overrated and Underrated
838:Sculpture and set design
571:during the same period.
491:The following series of
229:[alˈbɛrtoˈburri]
212:Legion d'Honneur (1993)
3642:Italian collage artists
3564:25 October 2021 at the
3483:Zorzi, Stefano (2016).
3460:Zorzi, Stefano (1995).
3379:University of Melbourne
3368:Rozner, Judith (2015).
3355:Cite magazine requires
3320:Palumbo, Piero (2007).
3315:. Milan: Il saggiatore.
3257:Lux, Simonetta (1984).
3209:"Burri Makes a Picture"
2943:Cite magazine requires
2800:Costa, Antonio (2002).
2126:. Milan: Electa. p. 179
2063:Rome New York 1948–1964
1954:. Milan: Electa. p. 177
1800:. Milan: Electa. p. 176
1541:2015 Noordkamp, Petra.
1443:(Large Black Crack) at
1107:In his 1963 monograph,
1043:Michelangelo Pistoletto
724:From Cretto to Cellotex
614:(Patch) were rejected.
505:Three-dimensional space
436:Tars, Molds, Hunchbacks
283:
204:Premio Marzotto (1964)
3677:Italian male sculptors
3435:Sweeney, James Johnson
1637:"Underrated/Overrated"
1380:Michelangelo Antonioni
1317:The Trauma of Painting
1224:Martha Jackson Gallery
1136:history, having been "
713:
594:Censorship and success
309:
276:in the United States (
225:Italian pronunciation:
3652:Italian male painters
2066:: an Art Exploration.
1555:2016 Moneta, Matteo.
1516:1995 Rubini, Rubino.
1228:James Johnson Sweeney
1216:Allan Frumkin Gallery
1142:Piero della Francesca
1124:James Johnson Sweeney
1065:Wedding of the Virgin
1018:. His graphic series
704:
653:Westport, Connecticut
630:James Johnson Sweeney
294:
130:University of Perugia
3161:Corà, Bruno (2016).
3128:Corà, Bruno (2015).
2600:Corà, Bruno (2014).
2537:(documentary), 2015.
2139:Firenze: Le Lettere.
1548:2015 Valeri, Stefano
1479:Umbria Jazz Festival
1357:Combustione Plastica
1311:(Munich) and at the
1255:Marlborough Fine Art
981:Accademia dei Lincei
759:Museo di Capodimonte
3441:. Rome: L'Obelisco.
3416:Burri: matter first
3313:L'arte dopo il 1945
3200:Burri e l'Informale
2789:. 12 February 2016.
2265:). Burri e I Cretti
1906:of a piece of satin
1534:2015 Severi, Luca.
1475:1990 FIFA World Cup
1423:). The 1973 ballet
1393:Salvatore Sciarrino
1118:On the other hand,
638:Robert Rauschenberg
580:Sacco di Zucchero 1
537:Giuseppe Capogrossi
510:In 1949 the critic
418:Leonardo Sinisgalli
363:Marlborough Gallery
334:Italo-Ethiopian War
297:would have been an
278:Robert Rauschenberg
3390:. Torino: Einaudi.
3231:on 23 January 2022
2848:"Burri Prometheia"
2465:Burri e Signorelli
2347:. Milan: Electa: "
1965:Burri matter first
1441:Grande Nero Cretto
1429:Quintetti sul Nero
1276:From 1979 on, the
1243:Giulio Carlo Argan
1165:Giulio Carlo Argan
1080:Critical appraisal
924:Tristan and Iseult
714:
643:Combine Paintings.
619:Italian Parliament
462:Polyvinyl chloride
3612:Abstract painters
3516:Library resources
3500:978-88-918-0935-3
3426:978-88-09-81594-0
3419:. Milan: Giunti.
3408:. Milan: Schwarz.
3331:978-8-837-05930-9
3324:. Milan: Electa.
3277:978-0-8223-6245-6
3176:978-88-940639-8-1
3139:978-88-99523-04-6
3106:978-88-99523-04-6
3073:978-88-99523-04-6
3040:978-88-99523-04-6
3007:978-88-99523-04-6
2974:978-88-99523-04-6
2922:978-0-810-90232-9
2883:. Rome: Editalia.
2730:Zanini, Lorenzo.
2656:Brandi 1963, p.26
2441:General Catalogue
2361:General Catalogue
2263:Corà, Bruno (2016
1883:, pp. 42–43.
1812:, pp. 36–49.
1771:, pp. 19–20.
1747:, pp. 33–40.
1687:, pp. 22–23.
1349:Combustione legno
1263:Francis of Assisi
632:(director of the
466:Enrico Prampolini
313:Città di Castello
250:Città di Castello
232:) was an Italian
218:
217:
61:Città di Castello
3694:
3632:Umbrian painters
3504:
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3253:
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3236:
3230:
3224:. Archived from
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3019:
3011:
2992:
2986:
2978:
2957:Burri. Una vita.
2952:
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2775:(Press release).
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2669:. Milan: Electa.
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2602:Burri Collection
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2011:
2005:
1998:
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1587:
1581:
1538:(Zen Europe/Sky)
1449:Burri Prometheia
1280:of paintings on
1120:Enrico Crispolti
1094:Nouveau réalisme
1039:Jannis Kounellis
1008:Legion of Honour
718:Bianchi Plastica
659:Adoption of fire
512:Christian Zervos
460:dust as well as
307:
280:) as in Europe.
256:of the European
231:
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190:
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164:Nouveau réalisme
146:
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79:13 February 1995
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3566:Wayback Machine
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3462:Parola di Burri
3454:Burri. Una vita
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3357:|magazine=
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3340:Perniola, Mario
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1468:Laura Biagiotti
1466:effects, up to
1460:Omaggio a Burri
1456:Roberto Capucci
1417:Robert Del Naja
1376:
1341:
1239:Venice Biennale
1218:(Chicago), the
1185:
1169:Venice Biennale
1082:
1055:
1035:Giorgio Morandi
993:
985:Luca Signorelli
947:
900:
888:Teatro Continuo
848:Teatro Scultura
840:
828:Ravenna mosaics
781:
768:Cretto di Burri
747:
726:
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604:Venice Biennale
596:
569:Action painting
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351:Hereford, Texas
343:Classical Greek
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189: 1955)
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3322:Burri Una Vita
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3309:Grohmann, Will
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3252:(16 February).
3250:New York Times
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2484:Kimmelman 1995
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1606:Kimmelman 1995
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1425:November Steps
1421:Massive Attack
1413:Giancarlo Neri
1375:
1372:
1368:Sacco e Rosso,
1340:
1337:
1249:presented the
1220:Stable Gallery
1184:
1181:
1130:Pierre Restany
1098:Postminimalism
1081:
1078:
1054:
1051:
1010:and the title
997:French Riviera
992:
989:
946:
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935:Toru Takemitsu
931:November Steps
920:Ignazio Silone
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3521:Alberto Burri
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3349:
3348:cite magazine
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2936:cite magazine
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2924:
2918:
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2913:Alberto Burri
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2904:Alberto Burri
2900:
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2897:9780892075232
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2751:bloomberg.com
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2492:
2486:, p. 28.
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2051:9780892075232
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1949:
1943:
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1927:
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1895:, p. 32.
1894:
1889:
1882:
1881:Serafini 2015
1877:
1871:, p. 22.
1870:
1865:
1859:, p. 37.
1858:
1857:Serafini 2015
1853:
1838:
1834:
1827:
1818:
1811:
1806:
1799:
1795:
1789:
1783:, p. 19.
1782:
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1758:
1753:
1746:
1741:
1735:, p. 21.
1734:
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1723:, p. 15.
1722:
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1711:, p. 30.
1710:
1705:
1699:, p. 24.
1698:
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1670:
1665:
1659:, p. 16.
1658:
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1638:
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1620:, p. 15.
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1489:Documentaries
1486:
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1477:posters. The
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1471:
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1461:
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1433:John Densmore
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1047:Anselm Kiefer
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258:informal art
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145:Notable work
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3627:1995 deaths
3622:1915 births
1869:Brandi 1963
1842:19 December
1837:artnews.com
1781:Brandi 1963
1733:Rozner 2015
1685:Rozner 2015
1669:Rozner 2015
1657:Rozner 2015
1618:Rozner 2015
1584:Brandi 1963
1309:Lenbachhaus
1197:Combustions
1183:Exhibitions
1102:process art
1086:Arte Povera
951:Combustioni
677:Combustioni
529:informalism
179:Minsa Craig
168:Arte Povera
120:Informalism
106:Nationality
3606:Categories
3397:Il viaggio
3235:23 October
2857:14 October
2756:17 January
2345:Il Viaggio
2074:8886158424
1893:Corà 2015a
1769:Zorzi 2016
1757:Zorzi 2016
1721:Zorzi 1995
1673:Zorzi 1995
1594:References
1384:Red Desert
1353:Christie's
1339:Art market
1245:. In 1962
1189:Irene Brin
1134:Minimalism
1020:Oro e Nero
974:Mixografia
904:Spirituals
854:series in
832:Nero e Oro
816:Annottarsi
793:Il Viaggio
708:(1964) at
692:Blow torch
608:Lo Strappo
268:and, with
266:spatialism
53:1915-03-12
3185:cite book
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3115:cite book
3082:cite book
3049:cite book
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2522:Kounellis
2019:The rules
1810:Corà 2016
1571:Footnotes
1481:used the
1437:The Doors
1409:Orestiadi
1400:in 2002.
1391:Composer
1364:Sotheby's
1345:Sotheby's
1251:Plastiche
1001:emphysema
970:Mixoblack
968:– to the
916:Plastiche
844:archivolt
808:polyptych
773:Gibellina
710:Glenstone
696:Plastiche
625:in Rome.
458:Aluminium
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385:Paintings
254:matterism
248:based in
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2124:Una Vita
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1374:Tributes
1290:Sestante
1286:Gli Orti
1282:Cellotex
1222:and the
1113:Futurism
1090:Neo-Dada
962:Sestante
912:La Scala
884:land art
857:ceramics
820:Sestante
612:Rattoppo
598:Burri's
367:New York
359:painting
325:Classics
304:—
274:assembly
242:sculptor
156:Movement
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2702:22 June
2434:Alberto
2354:Alberto
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1253:at the
1060:Raphael
824:Sextant
751:Cretti,
712:in 2023
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174:Spouse
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