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PROPERTY FROM A PRESTIGIOUS PRIVATE COLLECTION
GIULIO PAOLINI (B. 1940)
Mimesi
Details
GIULIO PAOLINI (B. 1940)
Mimesi
two plaster casts on two painted white plinths
each cast: 19 ¼ x 8 7⁄8 x 10in. (49 x 22.5 x 25.5cm.)
each white plinth: 47 5⁄8 x 11 5⁄8 x 11 5⁄8in. (121 x 30 x 30cm.)
Executed in 1975, this work is an artist's proof from an edition of five plus two artists proofs
Mimesi
two plaster casts on two painted white plinths
each cast: 19 ¼ x 8 7⁄8 x 10in. (49 x 22.5 x 25.5cm.)
each white plinth: 47 5⁄8 x 11 5⁄8 x 11 5⁄8in. (121 x 30 x 30cm.)
Executed in 1975, this work is an artist's proof from an edition of five plus two artists proofs
Provenance
Christian Stein Gallery, Turin.
Acquired from the above by the present owner in 1984.
Acquired from the above by the present owner in 1984.
Literature
A. Bonito Oliva, Europe America/The different avant-gardes, Milan 1976 (illustrated, p. 232).
‘Giulio Paolini’ in Kunstforum International, no. 39, Mainz 1980 (illustrated, p. 78).
R. De Fusco, History of contemporary art, Bari 1983 (illustrated, no. 347).
P. Tedeschi, ‘Rome. A contemporary art collection’, in Vogue Italia, no. 13, March 1986 (illustrated, pp. 536-537).
L. Parmesani, ‘Anachronism, Hypermannerism, New Maniera’, in F. Alfano Migletti, Arte in Italia 1960-1985, Milan 1988 (illustrated, p. 187).
F. Poli, ‘Reading Notes’, in Giulio Paolini, Turin 1990, pp. 31 and 39 (illustrated, no. 89).
F. Caputo and R. Masiero (eds.), Neoclassical. Reason, memory, a city: Trieste, Venice 1990 (illustrated on the front and back cover).
W.G. Lycan (ed.), Mind and Cognition. A Reader, Oxford 1990 (illustrated on the front cover).
G. de Vries (ed.), Paul Maenz Köln 1970-1980-1990. Eine Avantgarde-Galerie und die Kunst unserer Zeit, Cologne 1991 (installation view of Cologne in 1986 ilustrated, p. 204).
L.V. Masini, Dizionario del fare arte contemporaneo, Florence 1992, p. 277 (illustrated, p. 276).
A. Minola, Gian Enzo Sperone: Torino-Roma-New York, 35 anni di mostre tra Europa e America, Turin 2000 (illustrated, p. 282).
L.V. Masini, L’arte del Novecento. Dall’Espressionismo al Multimediale, vol. XI, Rome 2003, no. 2778 (illustrated, p. 545).
M. Bettini and E. Pellizer, Il mito di Narciso. Immagini e racconti dalla Grecia a oggi, Turin 2003, pp. xii and 214, no. 21 (illustrated in colour, p. 230).
R. De Fusco, Il piacere dell’arte, Capire la pittura, la scultura, l’architettura e il design, Rome 2004, p. 66, no. 24 (illustrated, p. 65).
E. Franz, ‘Giulio Paolini. “Universal Exposition”. Ein Klassiker der italienischen Avantgarde’, in Vernissage Nord, no. 11, November 2005 (illustrated, p. 100).
A. Zevi, Peripezie del dopoguerra nell’arte italiana, Turin 2005, pp. 364-365.
G. Di Genova, Storia dell’Arte Italiana del ‘900, Generazione anni quaranta, Bologne 2007, vol. 6.1, p. 16, n. 7 (Illustrated, p. 15).
M. Disch (ed.), Giulio Paolini, Catalogo ragionato: Tomo primo 1960-1982, Milan 2008, no. 283 (another from the edition illustrated in colour, p. 295; installation view of Castello di Rivoli in 1986 illustrated, p. 294).
R. Ferrario, Giulio Paolini. Un viaggio a distanza, Busto Arsizio 2009, p. 76 (illustrated in colour, p. 77).
J.P. Vernant, L'immagine e il suo doppio, Dall'era dell'idolo all'alba dell'arte, Milan 2010 (illustrated on the front cover).
R. De Fusco, History of contemporary art, Bari 2010 (illustrated, no. 247).
F. Fabbri, Il Buono il brutto il passivo, Le tecniche dell’arte contemporanea, Milan 2011, no. 1 (illustrated).
E. Longari, ‘Double mirrors and reflections’, in C. Casero and E. Di Raddo (eds.), The Seventies. The revolution in the languages of art, Milan 2015 (illustrated, p. 111).
S. Bann, ‘Apotheosis of Homer. From Paolini to Ingres’, in S. Bann et al., The past to the present, Mantua 2016, p. 128 (illustrated, p. 134).
I. Bernardi, Giulio Paolini. Opere su carta: un laboratorio gestuale per la percezione dell'immagine, Turin 2017, pp. 100, 111-113 (illustrated, p. 101).
L. Madaro, ‘Order and rigor in the archive of Giulio Paolini’, in Arte, no. 574, June 2021 (illustrated, p. 79).
A. Paolucci, ‘Towards the globalization of art’, in Beyond painting. From the 1950s to the present, vol. 12, Florence 2023 (illustrated, p. 22).
L. Bidoli, La lieta mimesi, Udine 2023 (illustrated on the front cover).
L. Canova, ‘In the abyss of time. Giulio Paolini and Giorgio de Chirico’, in Metaphysics. Notebooks of the Giorgio and Isa de Chirico Foundation, no. 22-23, Imola 2023, pp. 120 and 123 (ilustrated on the front cover).
M. Disch, Giulio Paolini Catalogue Raisonné, digital, ongoing, no. GPO-0283 (illustrated).
‘Giulio Paolini’ in Kunstforum International, no. 39, Mainz 1980 (illustrated, p. 78).
R. De Fusco, History of contemporary art, Bari 1983 (illustrated, no. 347).
P. Tedeschi, ‘Rome. A contemporary art collection’, in Vogue Italia, no. 13, March 1986 (illustrated, pp. 536-537).
L. Parmesani, ‘Anachronism, Hypermannerism, New Maniera’, in F. Alfano Migletti, Arte in Italia 1960-1985, Milan 1988 (illustrated, p. 187).
F. Poli, ‘Reading Notes’, in Giulio Paolini, Turin 1990, pp. 31 and 39 (illustrated, no. 89).
F. Caputo and R. Masiero (eds.), Neoclassical. Reason, memory, a city: Trieste, Venice 1990 (illustrated on the front and back cover).
W.G. Lycan (ed.), Mind and Cognition. A Reader, Oxford 1990 (illustrated on the front cover).
G. de Vries (ed.), Paul Maenz Köln 1970-1980-1990. Eine Avantgarde-Galerie und die Kunst unserer Zeit, Cologne 1991 (installation view of Cologne in 1986 ilustrated, p. 204).
L.V. Masini, Dizionario del fare arte contemporaneo, Florence 1992, p. 277 (illustrated, p. 276).
A. Minola, Gian Enzo Sperone: Torino-Roma-New York, 35 anni di mostre tra Europa e America, Turin 2000 (illustrated, p. 282).
L.V. Masini, L’arte del Novecento. Dall’Espressionismo al Multimediale, vol. XI, Rome 2003, no. 2778 (illustrated, p. 545).
M. Bettini and E. Pellizer, Il mito di Narciso. Immagini e racconti dalla Grecia a oggi, Turin 2003, pp. xii and 214, no. 21 (illustrated in colour, p. 230).
R. De Fusco, Il piacere dell’arte, Capire la pittura, la scultura, l’architettura e il design, Rome 2004, p. 66, no. 24 (illustrated, p. 65).
E. Franz, ‘Giulio Paolini. “Universal Exposition”. Ein Klassiker der italienischen Avantgarde’, in Vernissage Nord, no. 11, November 2005 (illustrated, p. 100).
A. Zevi, Peripezie del dopoguerra nell’arte italiana, Turin 2005, pp. 364-365.
G. Di Genova, Storia dell’Arte Italiana del ‘900, Generazione anni quaranta, Bologne 2007, vol. 6.1, p. 16, n. 7 (Illustrated, p. 15).
M. Disch (ed.), Giulio Paolini, Catalogo ragionato: Tomo primo 1960-1982, Milan 2008, no. 283 (another from the edition illustrated in colour, p. 295; installation view of Castello di Rivoli in 1986 illustrated, p. 294).
R. Ferrario, Giulio Paolini. Un viaggio a distanza, Busto Arsizio 2009, p. 76 (illustrated in colour, p. 77).
J.P. Vernant, L'immagine e il suo doppio, Dall'era dell'idolo all'alba dell'arte, Milan 2010 (illustrated on the front cover).
R. De Fusco, History of contemporary art, Bari 2010 (illustrated, no. 247).
F. Fabbri, Il Buono il brutto il passivo, Le tecniche dell’arte contemporanea, Milan 2011, no. 1 (illustrated).
E. Longari, ‘Double mirrors and reflections’, in C. Casero and E. Di Raddo (eds.), The Seventies. The revolution in the languages of art, Milan 2015 (illustrated, p. 111).
S. Bann, ‘Apotheosis of Homer. From Paolini to Ingres’, in S. Bann et al., The past to the present, Mantua 2016, p. 128 (illustrated, p. 134).
I. Bernardi, Giulio Paolini. Opere su carta: un laboratorio gestuale per la percezione dell'immagine, Turin 2017, pp. 100, 111-113 (illustrated, p. 101).
L. Madaro, ‘Order and rigor in the archive of Giulio Paolini’, in Arte, no. 574, June 2021 (illustrated, p. 79).
A. Paolucci, ‘Towards the globalization of art’, in Beyond painting. From the 1950s to the present, vol. 12, Florence 2023 (illustrated, p. 22).
L. Bidoli, La lieta mimesi, Udine 2023 (illustrated on the front cover).
L. Canova, ‘In the abyss of time. Giulio Paolini and Giorgio de Chirico’, in Metaphysics. Notebooks of the Giorgio and Isa de Chirico Foundation, no. 22-23, Imola 2023, pp. 120 and 123 (ilustrated on the front cover).
M. Disch, Giulio Paolini Catalogue Raisonné, digital, ongoing, no. GPO-0283 (illustrated).
Exhibited
Rimini, Quartiere fieristico, Empirica: l’arte tra addizione e sottrazione, 1975.
Rome, Galleria D’Alessandro-Ferranti, Giulio Paolini, 1975.
New York, Sperone-Westwater-Fischer, Giulio Paolini, 1977.
Zurich, Galerie Annemarie Verna, Giulio Paolini, 1977.
Mannheim, Mannheimer Kunstverein, Giulio Paolini, 1977, (another from the edition exhibited and illustrated, p. 13, no. VII).
Tokyo, Museum of Modern Art, Cento anni d’arte italiana moderna 1880-1980, 1982, no 98 (illustrated).
Portofino, Civic Art Gallery, Silvio Castelli Collection, 1983 (illustrated and incorrectly dated, p. 11).
New York, The Museum of Modern Art, An International Survey of Recent Painting and Sculpture, 1984 (illustrated, p. 239).
Ravenna, Museo d'Arte della città di Ravenna, Loggetta Lombardesca, Il fantasma della qualità, 1985 (illustrated, p. 67).
Cologne, Galerie Paul Maenz, Giulio Paolini. Dal “Trionfo della rappresentazione” (cerimoniale: in prospettiva), 1986 (another from the edition exhibited).
Charleroi, Palais des Beaux-Arts, Giulio Paolini, 1986 (not illustrated; same catalogue as solo exhibition Vileurbanne 1984).
Rivoli, Castello di Rivoli, Museo d'Arte Contemporanea, Markus Lüpertz, Giulio Paolini: figure, colonne, finnestre, 1986-1987, pp. 80 and 117, no. 47 (another from the edition exhibited; installation view illustrated, p. 126).
Bonn, Bonner Kunstverein, 2000 Jahre, Die Gegenwart der Vergangenheit, 1989 (another from the edition exhibited).
Republic of San Marino, Galleria d’Arte Moderna e Contemporanea, Titanica. Simbologie del contemporanea, 1995 (another from the edition exhibited; illustrated in colour, p. 44).
Venice, Palazzo Querini Dubois, Minimalia. Da Giacomo Balla a..., 1997-1998, p. 146 (another from the edition exhibited; illustrated in colour, p. 149). This exhibition later travelled to Rome, Palazzo delle Esposizioni.
Turin, Istituzione Galleria Civica d’Arte Moderna e Contemporanea, artecittà, 11 Artisti per il Passante Ferroviario di Torino, 1998 (artist’s proof exhibited; installation view illustrated in colour, p. 13).
Berlin, DaimlerChrysler Contemporary, Private/Corporate. Werke aus der Sammlung DaimlerChrysler und aus der Sammlung Paul Maenz: Ein Dialog, 2002 (another from the edition exhibited; installation view illustrated in colour, p. 9; illustrated in colour, p. 47).
Magdeburg, Kunstmuseum Kloster Unser Lieben Frauen, La Poetica dell’Arte Povera, 2003, p. 236, no. 61 (another from the edition exhibited; installation view illustrated, pp. 102-103).
Rome, Académie de France à Rome, Villa Medici, Incontri... Dalla Collezione di Graziella Lonardi Buontempo, 2003, pp. 156 and 270 (another from the edition exhibited; illustrated, p. 157).
Winterthur, Kunstmuseum Winterthur, Giulio Paolini. Esposizione universale, 2005-2006, pp. 23 and 87, no. 11 (another from the edition exhibited and installation view illustrated, pp. 44-49). This exhibition later travelled to Münster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte.
Bergamo, GAMeC Galleria d’Arte Moderna e Contempoanea, Giulio Paolini. Fuori programma, 2006 (artist’s proof exhibited; installation view illustrated in colour, pp. 62-65; illustrated in colour, p. 68).
Rome, Spazio Risonanze, Auditorium Parco della Musica, Risonanze #2. Giulio Paolini & Fabrio Vacchi, 2008, p. 46 (another from the edition exhibited and illustrated, p. 47).
Carrara, Carrara Aula Magna of the Academy of Fine Arts, XIII International Sculpture Biennial of Carrara. Nothing but sculpture, 2008, pp. 52-55 (installation view of GAMeC Galleria d’Arte Moderna e Contempoanea in 2006 illustrated in colour, pp. 56-57).
Lugano, Museo Cantonale d’Arte, Look at Me, Faces and Gazes in Art 1969-2009, 2009 - 2010, pp. 43-44, no. 76, (illustrated, p. 287).
Rivoli, Castello di Rivoli Museum of Contemporary Art, Arte Povera International, 2011-2012.
Milan, La Triennale di Milano, Quarantanni d’arte contemporanea. Massimo Minini 1973- 2013, 2013-2014.
Rome, Palazzo delle Esposizioni, Anni 70, Arte a Roma, 2013-2014, p. 317 (another from the edition exhibited; installation view of D’Alessandro Ferranti in 1975 illustrated, p. 153).
Ravenna, Museo d'Arte della città di Ravenna, La seduzione dell’Antico, da Picasso a Duchamp, da De Chirico a Pistoletto, 2016, p. 235 (another from the edition exhibited and illustrated, p. 221).
New York, Center for Italian Modern Art, Giorgio de Chirico – Giulio Paolini / Giulio Paolini – Giorgio de Chirico, 2016-2017, p. 63 .
Bergamo, Gallery of Modern and Contemporary Art, Il grande gioco, forme d’arte in Italia 1947-1989, 2010 (illustrated in colour, p. 252). This exhibition opened concurrently at Lissone, Museo d’arte contemporanea and Milan, Rotonda di via Besana. This exhibition later travelled to Lugano, Museo d’Arte.l
Berlin, Galerie Mehdi Chouakri, Giulio Paolini, Di ritorno, 2017 (another from the edition exhibited).
Milan, Fondazione Carriero, Giulio Paolini. Del Bello ideale, 2018-2019, p. 107 (installation view illustrated, p. 49).
Rome, Palazzo del Quirinale, Quirinale contemporaneo 2020, 2020, p. 51, (another from the edition exhibited; installation view illustrated in colour, p. 53).
Rome, Galleria D’Alessandro-Ferranti, Giulio Paolini, 1975.
New York, Sperone-Westwater-Fischer, Giulio Paolini, 1977.
Zurich, Galerie Annemarie Verna, Giulio Paolini, 1977.
Mannheim, Mannheimer Kunstverein, Giulio Paolini, 1977, (another from the edition exhibited and illustrated, p. 13, no. VII).
Tokyo, Museum of Modern Art, Cento anni d’arte italiana moderna 1880-1980, 1982, no 98 (illustrated).
Portofino, Civic Art Gallery, Silvio Castelli Collection, 1983 (illustrated and incorrectly dated, p. 11).
New York, The Museum of Modern Art, An International Survey of Recent Painting and Sculpture, 1984 (illustrated, p. 239).
Ravenna, Museo d'Arte della città di Ravenna, Loggetta Lombardesca, Il fantasma della qualità, 1985 (illustrated, p. 67).
Cologne, Galerie Paul Maenz, Giulio Paolini. Dal “Trionfo della rappresentazione” (cerimoniale: in prospettiva), 1986 (another from the edition exhibited).
Charleroi, Palais des Beaux-Arts, Giulio Paolini, 1986 (not illustrated; same catalogue as solo exhibition Vileurbanne 1984).
Rivoli, Castello di Rivoli, Museo d'Arte Contemporanea, Markus Lüpertz, Giulio Paolini: figure, colonne, finnestre, 1986-1987, pp. 80 and 117, no. 47 (another from the edition exhibited; installation view illustrated, p. 126).
Bonn, Bonner Kunstverein, 2000 Jahre, Die Gegenwart der Vergangenheit, 1989 (another from the edition exhibited).
Republic of San Marino, Galleria d’Arte Moderna e Contemporanea, Titanica. Simbologie del contemporanea, 1995 (another from the edition exhibited; illustrated in colour, p. 44).
Venice, Palazzo Querini Dubois, Minimalia. Da Giacomo Balla a..., 1997-1998, p. 146 (another from the edition exhibited; illustrated in colour, p. 149). This exhibition later travelled to Rome, Palazzo delle Esposizioni.
Turin, Istituzione Galleria Civica d’Arte Moderna e Contemporanea, artecittà, 11 Artisti per il Passante Ferroviario di Torino, 1998 (artist’s proof exhibited; installation view illustrated in colour, p. 13).
Berlin, DaimlerChrysler Contemporary, Private/Corporate. Werke aus der Sammlung DaimlerChrysler und aus der Sammlung Paul Maenz: Ein Dialog, 2002 (another from the edition exhibited; installation view illustrated in colour, p. 9; illustrated in colour, p. 47).
Magdeburg, Kunstmuseum Kloster Unser Lieben Frauen, La Poetica dell’Arte Povera, 2003, p. 236, no. 61 (another from the edition exhibited; installation view illustrated, pp. 102-103).
Rome, Académie de France à Rome, Villa Medici, Incontri... Dalla Collezione di Graziella Lonardi Buontempo, 2003, pp. 156 and 270 (another from the edition exhibited; illustrated, p. 157).
Winterthur, Kunstmuseum Winterthur, Giulio Paolini. Esposizione universale, 2005-2006, pp. 23 and 87, no. 11 (another from the edition exhibited and installation view illustrated, pp. 44-49). This exhibition later travelled to Münster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte.
Bergamo, GAMeC Galleria d’Arte Moderna e Contempoanea, Giulio Paolini. Fuori programma, 2006 (artist’s proof exhibited; installation view illustrated in colour, pp. 62-65; illustrated in colour, p. 68).
Rome, Spazio Risonanze, Auditorium Parco della Musica, Risonanze #2. Giulio Paolini & Fabrio Vacchi, 2008, p. 46 (another from the edition exhibited and illustrated, p. 47).
Carrara, Carrara Aula Magna of the Academy of Fine Arts, XIII International Sculpture Biennial of Carrara. Nothing but sculpture, 2008, pp. 52-55 (installation view of GAMeC Galleria d’Arte Moderna e Contempoanea in 2006 illustrated in colour, pp. 56-57).
Lugano, Museo Cantonale d’Arte, Look at Me, Faces and Gazes in Art 1969-2009, 2009 - 2010, pp. 43-44, no. 76, (illustrated, p. 287).
Rivoli, Castello di Rivoli Museum of Contemporary Art, Arte Povera International, 2011-2012.
Milan, La Triennale di Milano, Quarantanni d’arte contemporanea. Massimo Minini 1973- 2013, 2013-2014.
Rome, Palazzo delle Esposizioni, Anni 70, Arte a Roma, 2013-2014, p. 317 (another from the edition exhibited; installation view of D’Alessandro Ferranti in 1975 illustrated, p. 153).
Ravenna, Museo d'Arte della città di Ravenna, La seduzione dell’Antico, da Picasso a Duchamp, da De Chirico a Pistoletto, 2016, p. 235 (another from the edition exhibited and illustrated, p. 221).
New York, Center for Italian Modern Art, Giorgio de Chirico – Giulio Paolini / Giulio Paolini – Giorgio de Chirico, 2016-2017, p. 63 .
Bergamo, Gallery of Modern and Contemporary Art, Il grande gioco, forme d’arte in Italia 1947-1989, 2010 (illustrated in colour, p. 252). This exhibition opened concurrently at Lissone, Museo d’arte contemporanea and Milan, Rotonda di via Besana. This exhibition later travelled to Lugano, Museo d’Arte.l
Berlin, Galerie Mehdi Chouakri, Giulio Paolini, Di ritorno, 2017 (another from the edition exhibited).
Milan, Fondazione Carriero, Giulio Paolini. Del Bello ideale, 2018-2019, p. 107 (installation view illustrated, p. 49).
Rome, Palazzo del Quirinale, Quirinale contemporaneo 2020, 2020, p. 51, (another from the edition exhibited; installation view illustrated in colour, p. 53).
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