Alberto MAGNELLI (1888-1971)
Lyrical explosion n°1 Oil on canvas, signed and dated 1918 lower right, countersigned, titled, located Firenze and dated on the reverse of the canvas. 130,5 x 130,2 cm Small hole.
Framed with a double stained wood rod made by the Artist.
We thank Mrs Anne Maisonnier for the information she kindly gave us. A certificate of authenticity will be given to the buyer.
Simone FRIGERIO is a French collector and art critic, active in Paris in the 1960s and 1970s. She collaborates in particular for the avant-garde review Quadrum, but also for Panorama XXème siècle, or Aujourd'hui Art et Architecture, with a particular interest in contemporary art and lyrical abstraction.
The purchaser will be given the documentation kept by Mrs Frigerio, including :
- Photograph of the room dedicated to Magnelli at the XXV Venice Biennale, 1950 (rep. p. 39).
- Letter from Susi Magnelli to Simone Frigerio concerning the request for the loan of her work for the exhibition of the centenary of Magnelli's birth, 25 May 1988.
- Letter from the sales director of the Venice Biennale concerning the negotiation of the acquisition of Lyrical Explosion n°1 by Mrs Simone Frigerio.
Related works in public collections:
- Lyrical Explosion n°2, Centre Pompidou, Paris. - Lyrical explosion n°5, Museum of Vallauris. - Lyrical explosion n°7, Museo Novocento, Florence. - Lyrical explosion n°8, Centre Pompidou, Paris. - Lyrical explosion n°14, The Solomon R Guggenheim Museum, New York.
- Lyrical explosion n°19, Musée d'Art Moderne, Saint Étienne Métropole.
Provenance: - Acquired directly from the artist in 1950, a letter from the director of sales at the Venice Biennale will be given to the buyer.
- Collection Simone FRIGERIO, Paris.
- By descent to the present owners.
- XXV International Biennial Art Exhibition of Venice, 1950.
A photograph in situation will be given to the purchaser.
- Palais des Beaux-Arts, Brussels, 1954.
- Eindhoven, Stedelijk Van Abbe Museum, 1955.
- Kunsthaus, Zürich, 1963.
- Palazzo Strozzi, Florence, June-July 1963.
- Palais des Beaux-Arts, Brussels, November-December 1972.
- Musée National d'Art Moderne, Paris, January-March 1973.
- XXV International Art Exhibition of Venice, 1950, exhibition catalogue, p. 203.
- Magnelli, (cat. exp. Liège), 1951, reprod. p. 7.
- Magnelli, (cat. exp. Eindhoven, Stedelijk Van Abbe Museum), 1955.
- DORIVAL B., " Magnelli : synthèse de deux cultures ", XXe siècle, n° 30, Paris June 1968, p. 67.
- POTENTE N., SERAFINI G., Alberto Magnelli, Rome, Collezionista editore, 1973, reprod. p. 38.
- MAISONNIER-LOCHARD A., Alberto Magnelli: l'oeuvre peint: catalogue raisonné, Paris, XXe siècle, 1975, reprod. p. 75.
- Magnelli, (cat. exp. Paris, Musée national d'artmoderne) Paris, Centre Georges Pompidou, 1989, reprod. p. 86.
Lyrical Explosion No. 1 is the first canvas in an exceptional series of 19 works painted by Alberto Magnelli in 1918. This series is Magnelli's attempt to resolve the conflict between the abstraction he practiced in 1915 and the figuration to which he returned in 1917. It is also the product of the integration and maturation of the works of the international Avant-garde. Indeed, Magnelli, close to the Futurists, went to Paris to frequent the avant-garde circles. Through a work of simplification and in the continuity of the line followed throughout the years 1913-1914, he gradually slipped towards a new form of non-figurative expression. In 1915 all figurative pretexts are eliminated, Magnelli evolves towards abstract expressionism. The war years are more painful, back in Florence, Magnelli suffers from depression and 1916 remains one of the least productive of his entire career. The artist departed from his previous experience and reintroduced the figure into his work. Isolated in Florence during this period of war, he added to this anguish the feeling of distancing himself from his avant-garde friends who were all participating in this direct experience of war. In 1918, in a sudden turn of events, he produced the series of Lyrical Explosions, which marked the end of these war years. Although women are the main and almost exclusive subject of this series, they are melted into the colours, exploded with cubism and in a lyricism that Magnelli attributed to the euphoria and joy of Victory. The freedom and sensuality of the subject, the fragmentation and the bright colours give substance to this feeling of explosion. Reinforcing the explosive feeling, an impression of spontaneity is created.