BODY AND MOVEMENT (LIVE)

The representation of the body is the first of all pictorial pictorial representation. Twentieth-century artists perpetuate this ever-renewed of the human body, and of movement, through the various movement, through the various media at their disposal. In the second half of the twentieth century, representation of the body is liberated. Magnified by its musculature and forms, it is presented body, anonymized by the absence of a face, as if refusing to be refusing to be too precisely identified: both Klein's Venus Klein's Venus (lot 1), the bronzes by Igor Mitoraj (lot 4) or the studies by by Vladimir Velickovic (lots 5 and 6). With Dado Djuric (lots 2 and 3), the body is abused, in representations where the softness of the the soft tones of the palette seem to deceive the viewer with glance. In his compositions, the body is deconstructed and opened up, as a collection of flesh in motion, the contours of which are sometimes difficult to define. From time immemorial, artists have sought to render the impression of movement on a flat surface. the impression of movement. These dancing bodies, as in Luciano Castelli's drawing by Luciano Castelli (lot 13), athletic bodies, like the footballer of Titina Maselli (lot 7) or Segui's joggers (lot 11), populate the work of the work of artists from different horizons. In Antonio Segui's canvases Segui's canvases, humans are in constant motion, and his compositions are filled with hurried men moving from one edge of the canvas to the other exchanging furtive glances (lots 10 and 11). Finally, the body in motion is also that of the artist, who makes his mark brush or pencil. Giuseppe Penone, a leading figure of Arte Povera, links in Gesti Vegetali (lot 12) the gesture of the artist whose trace on the paper is the testimony, to the vegetal movement evoked by the resulting composition.