2 works: One 8-colour lithograph on paper by artist Agenore Fabbri ‘Urlo’ - signed on bottom right - copy no. 2/100 - sheet size 50x70 cm - image size 25x35 cm - year 1985 + one 12-colour lithograph on paper by artist Agenore Fabbri ‘Amanti’ - signed on bottom right - copy no. 62/100 - sheet size 50x70 cm - image size 22x17 cm - year 1985 - private collection - origin and purchase: Italy with certificates of guarantee - shipping via UPS - SDA - DHL - TNT.
Agenore Fabbri (Quarrata, 1911 – Savona, 1998) was an Italian sculptor and painter. At the age of 12 he enrolled at the School of Arts and Crafts in Pistoia and then was admitted to the Academy of Fine Arts in Florence, a city where he was trained by regularly attending the cultural environment of the Caffè Le Giubbe Rosse, a meeting place for hermetic artists (Eugenio Montale, Carlo Bo and others). Here he came into contact with the painter Ottone Rosai and the poet Mario Luzi. In 1930 he began to model and fire clay. Five years later he moved to Albisola where, initially working as a model maker at the ceramics factory La Fiamma, he continued his apprenticeship and began to work on the subject of the human and animal figure with a strong expressionist influence that introduced colour and new solutions such as the "reflection" in the terracotta.  Always in Albisola, where in those years the most important exponents of the second Futurism still worked under the guidance of Filippo Tommaso Marinetti, he later set up a small atelier and got in touch first with Arturo Martini and then with Lucio Fontana, with whom he began a friendship that would last a lifetime. In 1938 he achieved a fair amount of success at the Naples National Theatre and at the beginning of the 1940s he made his debut with solo exhibitions in Milan, Bergamo and Savona, but then he had to stop his activity to do the military service in Yugoslavia. Since 1946 he settled permanently in Milan, while in the summer season he continued to work in Albisola, which in the postwar years became an internationally renowned place because of the constant work of artists such as Marino Marini, Giacomo Manzù, Aligi Sassu, some members of the CoBrA group including Karel Appel, Guillame Corneille and Asger Jorn, Roberto Matta and Wilfredo Lam and then Giuseppe Capogrossi, Roberto Crippa, Emilio Scanavino and the very young enfant prodige Piero Manzoni. In 1947 he made important ceramic and terracotta works such as “Donna del Popolo” (a title spontaneously suggested by Picasso), “Uomo Colpito” and “La Madre”, all made in the Mazzotti factory, owned by the Futurist artist and poet Tullio d'Albisola, with whom he organised his first meeting with Picasso in Vallauris. In 1956, with Aligi Sassu, Giulio Turcato, Tettamanti, Zancanaro and Antonietta Raphaël Mafai, he made a travel of over three months to China, where he had the opportunity to show some of his works in Beijing and other towns. Then he did solo exhibitions in the USA, in New York, Philadelphia and in Europe, in London, Paris, Stockholm, Rome and Milan and participated in the most important national and international exhibitions of sculpture: the Venice Biennale from 1952 and 1960 (both with a personal room) and those from 1959 and 1964, as well as numerous editions of the Rome Quadrennial and then in Antwerp, Madrid, Paris, Zurich, Athens, The Hague, Munich, London, New York, Boston, Tokyo, Sao Paulo, Mexico City, Cairo and Alexandria in Egypt. Since the early 1970s, he began attending the ‘Centro Cultura Arte Contemporanea - Balestrini’ in Albissola Marina, where he had a fraternal friendship with Franco Balestrini. Franco Balestrini made countless solo exhibitions of Agenore Fabbri, until he became one of the greatest experts of the entire work of the artist, as well as one of the greatest collectors. In the 1980s his works were mostly exhibited in Germany with solo exhibitions at the Wilhelm Lehmbruck Museum in Duisburg, the Ludwig Museum in Cologne and the Sprengel Museum in Hanover. From 1965 he became a member of the Accademia Nazionale di San Luca, an institution of which he was elected president in 1998, the year of his death. Numerous prizes since 1939. Among the many awards we can mention the International Sculpture Prize of Cannes in 1955, a prize won at the fifth edition of the Spoleto Prize in 1957, and those of the Triennale of Milan in which he won: gold medal, Grand Prize and Grand Prize for Ceramic. On 4 August 1998 he was admitted to the Hospital of Savona for a cerebral haemorrhage, and there he died on 7 November.
His works are narrative with clear expressionist features and with an influence of popular plastic that appears in many works of his native Tuscany. It is well known that terracotta was for Fabbri a sort of obligatory passage in his early days: an extremely poor material which however allowed him to learn how to model and therefore to create plastic works without having to submit the artistic action to the tyranny of the managing costs of metals, burdened by the costs of castings and welds. Immediately after the war, which marked forever his sensibility, his works were channelled towards an extreme expressive drama that not only concerned human beings but also spread in the animal world, represented in fights with effects that go beyond the explicit violence. Then, in the fifties and sixties, Fabbri took control of bronze and wood: with the former he expressed himself through a convulsive modelling marked by deep grooves on the figure, with the latter instead he gave his contribution to the period of the informal art through a work of breakage and overlapping of surfaces. In fact, in those years, the informal art developed especially in Europe as artistic response, abstract and gestural sign, to the deep moral, political and ideological crisis caused by the horrors of the Second World War. In this period he also made numerous works using tinned and galvanised iron and steel. In the last phase of his production Fabbri first returned to his expressionist background and then, since 1981, he discovered the painting by creating works, such as the “Giardini Pubblici” series, which are finally dedicated to a more open and emotional interpretation of reality and human destiny and that will become prominent during the eighties, until it resulted in a colourful and playful recreation in the following decade, also characterised by "reused" materials such as sand, stones, fabrics, cans, etc., of the past informal experience. Agenore Fabbri is also the author of numerous monumental works in Milan (“Caccia al cinghiale”, 1964, garden of the Municipal Library), Pistoia, Savona (“Monumento alla Resistenza” in Piazza Martiri della Libertà) and two impressive ceramic bas-reliefs: “Battaglia”, kept at the “Manlio Trucco” Museum of Albisola Superiore and “La favola di Orfeo” at the Polo Tecnologico Libero Grassi Quarrata (Pistoia).
- 2 Opere: Agenore Fabbri (1911-1998)
- Titre de l'oeuvre d'art
- Taille de l’image
- 25×35 cm
- Dimensions totales
- 70×0.2×50 cm
- Cadre inclus