Galleria La Tartaruga, Rome,
Galleria dell'Ariete, Milan,
Gianni Malabarba, Milan,
Private collection, France.

G. Dorfles, Castellani, exhibition catalogue, Milan, 1963.
A. Bonito Oliva, A. C. Quintavalle, Enrico Castellani, Parma, 1976, no. 18, illustrated.
A. Zevi, Enrico Castellani, Ravenna, 1984, exhibition catalogue, p. 44, illustrated
G. Celant, I. Giannelli, Memoria del futuro, Milan, 1990, p. 173, illustrated.
G. Celant (ed.), Enrico Castellani, 1958–1970, exhibition catalogue, Milan, 2001, pp. 43, 121, illustrated.
R. Wirz, F. Sardella, Enrico Castellani, Catalogo ragionato, II, Opere 1955–2005, Milan, 2012, p. 333, no. 93.

In 1959, together with Piero Manzoni, Enrico Castellani founded the art gallery Azimut and a magazine called Azimuth. Associated with the artistic groups ZERO and NUL, between December 1959 and July 1960, Galleria Azimut presented thirteen exhibitions, including Castellani’s first solo exhibition, and the important group show La nuova concezione artistica (The New Artistic Conception). Castellani dedicated himself to experimenting with different methods, using nails under a stretched-out canvas to form a sort of dance between light, angles and shadows; a technique that would later become his signature style. Castellani and Manzoni’s joint projects in 1959–60 established Milan as an important centre of activity for ZERO, a rapidly expanding international network of artists committed to redefining art and engaging light, space, time and movement. From 1963 to 1970 Castellani exhibited at a number of different galleries throughout Europe. It was also between these years that surface poetry began to give way to the subject, with Castellani’s attention changing its focus to study more on the formal articulations of the surface with his canvases becoming shaped, angular, diptychs and triptychs. In 1966 he won the Gollin prize at the Venice Biennale.

This early blue work exhibits Castellani's signature style, a monochrome canvas punctuated with undulating forms, manipulated from behind. Unusually, this work combines ink and wax on the surface, giving an added lustre. The appearance of the work shifts and changes in an almost infinite range of possibilities depending upon the angle at which it is viewed together with the light, and what emerges is a universe in which the viewer might lose themselves, sharing in the artist's obsession with impressing rhythm upon the canvas.

Authenticated by the Fondazione Enrico Castellani, Milan and registered under n. 61-005.