Pietro Consagra: Frontal Sculpture 1947-1967London
Piano Appeso Alluminio Celeste, 1966–67
ProvenancePrivate collection, Milan
Consagra. Mostra 130, exh. cat. Galleria dell’Ariete, Milan, 1967, text by Carla Lonzi, no. 4.
Consagra, exh. cat. Marlborough-Gerson Gallery, New York, 1967, text by Carla Lonzi, no. 17, illustrated.
Guido Ballo, ed., Recent Italian Painting and Sculpture, exh. cat. Jewish Museum, New York, 1968, no. 23, illustrated.
Giovanni Carandente, Mostra di Pietro Consagra. Sculture, exh. cat. Palazzo dei Normanni, Palermo,1973, no. 42, illustrated.
Giorgio Veronesi, ed., Opere di Pietro Consagra (1948–1978), exh. cat. Chiostro di San Nicolò, Spoleto, no. 2.
Guido Ballo, ed., Consagra. Mostra antologica, exh. cat. Palazzo dell’Arengo, Rimini, 1981.
Anna Imponente and Rosella Siligato, eds., Pietro Consagra, exh. cat. Galleria Nazionale d’Arte Moderna, Rome, 1989, no. 47, illustrated.
Maurizio Calvesi, ed., Cento anni di Arte Italiana alla Farnesina, Rome, 2006, illustrated.
Luca Massimo Barbero and Gabriella Di Milia, eds., Pietro Consagra. Necessità del colore. Sculture e dipinti 1964–2000, exh. cat. Museo di Castelvecchio, Verona, 2007–8, p. 135, no. 18, illustrated.
Marco Meneguzzo and Gabriella Di Milia, Pietro Consagra, exh. cat. Galleria Tega, Milan, 2016,
p. 43, illustrated.
Francesca Pola, ed., Pietro Consagra. Frontal sculpture 1947–1967, exh. cat. Robilant+Voena, London, 2018, p. 132, no 125, illustrated.
Milan, Galleria dell’Ariete, Consagra. Mostra 130, June–July 1967
New York, Marlborough-Gerson Gallery, Consagra, October 1967
New York, Jewish Museum, Recent Italian Painting and Sculpture, 24 May–2 September 1968
Palermo, Palazzo dei Normanni, Mostra di Pietro Consagra. Sculture, 24 February–24 April 1973
Spoleto, Chiostro di San Nicolò, Opere di Pietro Consagra (1948–1978), 30 June–15 July 1979
Rimini, Palazzo dell’Arengo, Consagra. Mostra antologica, 30 June–30 September 1981
Rome, Galleria Nazionale d’Arte Moderna, Pietro Consagra, 24 May–1 October 1989
Verona, Museo di Castelvecchio, Pietro Consagra. Necessità del colore. Sculture e dipinti 1964–2000, 16 December 2007–30 March 2008
Milan, Galleria Tega, Pietro Consagra, 14 March–29 April 2016
London, Robilant+Voena, Pietro Consagra. Frontal sculpture 1947–1967, 27 September–16 November 2018
With the advent of Pop Art and following Robert Rauschenberg’s victory at the Venice Biennale of 1964, Consagra embarked on a period of self-reflection, during which he began working intensely with paint. In the Piani Sospesi (Suspended Planes, 1964–65), the Ferri trasparenti (Transparent Irons, 1965–66), the Giardini (Gardens, 1965–66), and the Piani appesi (Hanging Planes, 1966–67). It is to this last series that Piano Appeso Alluminio Celeste, 1966–67, belongs. Consagra applied paint to the metal surfaces of his sculptures in the bright colors—reds, purples, blues, yellows, and pinks—made explosively popular by Pop Art. Given the industrial nature of the metal he used in his works, and their omnipresence in the urban environment, Consagra envisaged these monochrome pieces as transcendent emblems of a new formal and spiritual landscape, one which challenged the primacy and authority of the cities around us, privileging instead the perception, imagination, and humanity of the beholder.
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