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Lot Essay
Il motivo matissiano della Donna al sole, realizzata in vari esemplari e con linguaggio neocubista nella prima metà degli anni ‘50, viene qui calcinato e drammatizzato, in linea con gli esiti dell’ultima maniera di Leoncillo. Ne sono noti altri due esemplari di simili dimensioni, nonché una serie di bozzetti e un consistente gruppo di chine e di carte polimateriche, a volte giustapposte, a mò di dittico, a Amanti antichi, la cui prima realizzazione scultorea è del 1965. E’ infatti con Amanti antichi, successiva di un anno, che l’opera in oggetto manifesta evidenti affinità formali e tecnico-costruttive: ambedue sono conformate da una terracotta monocroma solcata da scarificazioni nere che restituiscono un corpo come frammentato, parzialmente rivestito da un palinsesto di “mattoni” in engobbio bianco che proteggono, come un’irregolare armatura, una parte consistente delle sculture. In ambedue le opere è pienamente dispiegato quel sentimento del Tempo, ormai concreto e stagliato a mò di palinsesto di irregolari mattoni, che già caratterizzava le due versioni di Tempo ferito del 1963.
The Matisse like motif of Donna al sole, realised in different models and with a neo-cubist language in the first half of the 1950s, results, in line with the outcome of the last style of Leoncillo, calcinated and dramatised. Only two other examples are known of similar dimensions, as well as a series of sketches and a consistent group of ink and multicoloured papers, sometimes juxaposed in the form of a dyptic, like Amanti antichi, who’s first sculptural realisation is from 1965. As a matter of fact it is with Amanti antichi, executed a year later, that the work in object manifests clear formal and architectural affinities: both works are conformed by a monocrome terracotta grooved by black scarifactions that create a fragmented body, partially overlaid by a palimpsest of briks in white engobe which protects, just as an irregural armour, a consistent part of the scupltures. In both artworks the sentiment of Time is completely layed out, by now concrete and which stands out such as a palimpsest of irregualr briks, which caracterised already the two versions of Tempo ferito of 1963.
The Matisse like motif of Donna al sole, realised in different models and with a neo-cubist language in the first half of the 1950s, results, in line with the outcome of the last style of Leoncillo, calcinated and dramatised. Only two other examples are known of similar dimensions, as well as a series of sketches and a consistent group of ink and multicoloured papers, sometimes juxaposed in the form of a dyptic, like Amanti antichi, who’s first sculptural realisation is from 1965. As a matter of fact it is with Amanti antichi, executed a year later, that the work in object manifests clear formal and architectural affinities: both works are conformed by a monocrome terracotta grooved by black scarifactions that create a fragmented body, partially overlaid by a palimpsest of briks in white engobe which protects, just as an irregural armour, a consistent part of the scupltures. In both artworks the sentiment of Time is completely layed out, by now concrete and which stands out such as a palimpsest of irregualr briks, which caracterised already the two versions of Tempo ferito of 1963.