Fausto Melotti - Casa Fornaroli London Thursday, April 27, 2023 | Phillips

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  • ‘‘I use metal because it brings me closer to drawing: with metal I can draw in space.’’ 
    —Fausto Melotti

    This seemingly weightless and airy sculpture entitled L'abbraccio reveals Fausto Melotti's strong affinity for mathematical and musical laws. Specifically, it exemplifies how his deep knowledge of musical counterpoint, composition, and harmony was used as the basis for his lyrical and abstract formal configurations. Melotti returned to abstract sculpture in 1959, overcoming his inertia and silence following the horrors of World War II. He amalgamated his previous experiences in abstract art with his exploration into joyful, sometimes ironic, but always playful narratives, which he had successfully explored in his ceramic and terracotta works in the late 1940s and throughout the 1950s.

     

    L'abbraccio is a sublime and poetic work. Constructed of slender brass wire, a chain and bell, and glazed colourful ceramic beads, this sculpture is made up of the most essential elementary components yet has a powerful and dynamic presence. It is comparable to a plastic musical composition that is transferred into space. A break from his earlier ceramic works and objects where solid forms seemed to disappear into expressions of anti-matter, this outstanding sculpture is devoid of any physical volume or mass.

     

     Reminiscent of pre-war cage-like compositions by Pablo Picasso, the wire figures and mobiles by Alexander Calder or Lucio Fontana's early rod metal constructions, Melotti began to create dematerialised structures he came to call anti-sculptures in 1959 (Lot 214). Unlike the other artists, his creations are musical compositions orchestrated in space and time, creating transcendent dimensions for the poetry that lies within. Melotti, who made drawings for all his sculptures, soon developed a preference for working with fine metal wire as it allowed him to "draw in space". This enabled him to go beyond the two-dimensional and even three-dimensional sphere to enter a lyrical and spiritual realm.

     

    Project drawing for "Disegno nello spazio" sculpture, 1960.
    Credit: Courtesy Fondazione Fausto Melotti, Milan. Photo: Daniele De Lonti.

     

    In L'abbraccio, only the thin brass wire forms the linear framework for a three-dimensional drawing in space, representing spaces and non-spaces, closed and open, filled with symbolic elements that evoke the visible and the invisible. It is within this ambiguous outline of almost dematerialised structure that everything takes place; and within which, according to the Dutch art critic and art historian A .M. Hammacher, "the relationship between the symbols in [Melotti’s] spatial alphabet determines the core of the work." The brass wires hold and direct the narrative of suspended parallel realities while creating ever-changing suspended imaginary spaces with planes, shapes, forms, and colour, leading the observer towards their own interpretation and imaginary dream world.

     

     

    By Dr. Lisa Hockemeyer, Art and Design Historian and Associate Professor of Design, Politecnico di Milano

    • Provenance

      Antonio Fornaroli, Milan
      Thence by descent

    • Literature

      Germano Celant, Melotti: Catalogo Generale, Sculture 1929-1972, Volume 1, 1994, pp. 135-36 for similar examples

    • Catalogue Essay

      The present lot is registered in the Fondazione Fausto Melotti as code 1961 47.

      Phillips wishes to thank Rudi Cerri of the Fondazione Fausto Melotti for his assistance in cataloguing the present lot.

234

'L'abbraccio'

1961
Brass.
28.1 x 13.5 x 12.8 cm (11 1/8 x 5 3/8 x 5 in.)

Full Cataloguing

Estimate
£15,000 - 20,000 ‡♠

Sold for £40,640

Contact Specialist

Antonia King
Head of Sale, Design
+44 20 7901 7944
Antonia.King@phillips.com

Casa Fornaroli

London Auction 27 April 2023