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Surface 141
In my country
The Red Girl (Head of a Red Haired Woman)
Abstraction with Brown Burlap (Sacco)
Orange Car Crash (5 Deaths 11 Times in Orange) (Orange Disaster)
Still life
San Martino and the poor man
A mummified culture
Coat stand (from Naples)
Terrible animal
Sill for one color (Sill for one turquoise)
Living Sculpture
Without title
Archeology
Grafting
The man who broke the statue of God
Thumb print
Archeology
The Four III
Compassion
MDLXIV
Portrait Relief of Claude Pascal
Spots
Era
Drums, bells and cowbells
House
Be breathe
Archeology
DadAndroginErmete
Without title
Prepare yourself for a cosmic-astronomical masterpiece
Without title
Night lookout
From Olympus
The philosophical canvas
Frescoes
Roll of corrugated cardboard
Black-green interference
Iris
The pier (The little train)
Portrait of a lady
Aracne
Study for the death of Leonidas at Thermopylae
Asphyxiation! (left side)
The Siren (Green Abyss)
Female Nude (Ginia) (Ginia with head resting on her arm)
Self-portrait with the feather of jay
Urban landscape
Composition T. 50 - 5
Portrait of Ercole Levi
Painting no. XLV
Marina
Portrait of Annetta Levi (Figure)
Portrait of a lady
Justinian
Surface 141
In my country
The Red Girl (Head of a Red Haired Woman)
Abstraction with Brown Burlap (Sacco)
Orange Car Crash (5 Deaths 11 Times in Orange) (Orange Disaster)
Still life
San Martino and the poor man
A mummified culture
Coat stand (from Naples)
Terrible animal
Sill for one color (Sill for one turquoise)
Living Sculpture
Without title
Archeology
Grafting
The man who broke the statue of God
Thumb print
Archeology
The Four III
Compassion
MDLXIV
Portrait Relief of Claude Pascal
Spots
Era
Drums, bells and cowbells
House
Be breathe
Archeology
DadAndroginErmete
Without title
Prepare yourself for a cosmic-astronomical masterpiece
Without title
Night lookout
From Olympus
The philosophical canvas
Frescoes
Roll of corrugated cardboard
Black-green interference
Iris
The pier (The little train)
Portrait of a lady
Aracne
Study for the death of Leonidas at Thermopylae
Asphyxiation! (left side)
The Siren (Green Abyss)
Female Nude (Ginia) (Ginia with head resting on her arm)
Self-portrait with the feather of jay
Urban landscape
Composition T. 50 - 5
Portrait of Ercole Levi
Painting no. XLV
Marina
Portrait of Annetta Levi (Figure)
Portrait of a lady
Justinian

Without title

Giulio Paolini

Displayed in:

GAM - Gallery of Modern Art, Turin

GAM - Gallery of Modern Art, Turin

Via Magenta, 31, Turin

Closed today: open Tuesday at 10:00

Verified profile

The reflection on the primary linguistic structures of painting accompanies Giulio Paolini's beginnings; from Disegno geometrical of 1960, in which the squaring of the canvas is not the subject of the painting, but is rather aimed at qualifying the support, to the immediately following "Untitled", the artist intends to carry out a recognition of the constituent elements of the framework. The linguistic perspective, in which canvas, frame, frame, line and color become the concrete tools of an empirical attitude, already in the early stages of activity, is accompanied by a semantic and syntactic, determined to derive the scope of the intervention from material qualities of the chosen media. The "Untitled" of 1966, at the center of which the perimeter of a white square is crossed by a slight stroke of pencil, shows itself as a metalinguistic artifice, construction of the picture within the picture; the painted surface, in fact, mimics the space occupied by the rough canvas on the wall and plays with the transparency of the fabric, revealing how the wooden planks that make up the cross of the frame condition the profile of the geometric figure. The equivocal relationship between the subject of the work and its physical support is considerably complicated if interpreted in a wider dimension, such as to include the surrounding space and the viewer. The sense of disorientation produced by the alternation of fictitious and real plans is the result of an aesthetic trap that, experienced above all in the two-year period 1964 - 1965 and perfected, in that turn of years, with the introduction of the photographic technique, founds its own ambiguity on the duplication of the square.
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Details

Title: Without title

Author: Giulio Paolini

Date: 1966

Technique: Copying pencil and tempera on raw canvas

Displayed in: GAM - Gallery of Modern Art, Turin

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