AFRO BASALDELLA (Udine, 1912 - Zurich, 1976) - Untitled (1968)

Descriptio Mosaic on fiberglass panel. Dimensions: 74 × 120.5 cm. This abstract work presents a richly textured and chromatic composition, articulated through organic forms, irregular geometric structures, and sinuous lines that intertwine on a surface of intense visual dynamism. The horizontal composition is dominated by large, dark masses in shades of black and brown, contrasting with light surfaces of white, beige, and ochre, accompanied by touches of turquoise, yellow, and red. On the left, a vertical form with curved contours stands out, crowned by a yellowish surface and accompanied by an intense blue patch, while in the central area, a network of fragmented forms, black lines, and small chromatic accents develop, generating a complex interplay between positive and negative space. On the far right, a triangular-looking structure stands out, delimited by dark lines and crossed by a horizontal red line, which introduces an element of tension and balance to the whole. The use of small mosaic tiles creates a surface of remarkable material richness, in which variations in texture, chromatic contrasts, and the fragmentation of forms take center stage. The work reflects the artistic language of Afro Basaldella, known as Afro, one of the most important figures in postwar Italian abstraction and a prominent member of the group of artists associated with the renewal of European abstract art during the 1950s and 1960s. His work is characterized by a particular sensitivity to color, the construction of spaces through organic forms, and the integration of gestural elements and symbolic references. The composition shows affinities with certain investigations by Arshile Gorky (1904-1948), especially in the use of biomorphic forms, structures with a floating appearance, and chromatic relationships of a poetic nature, as well as with the artistic universe of Joan Miró (1893-1983), through the use of abstract signs, calligraphic lines, and organic elements of symbolic evocation. Parallels can also be drawn with certain compositions by Willem de Kooning (1904-1997), due to the tension between gesture, material, and pictorial structure. These references constitute stylistic affinities and do not imply an attribution of authorship. The work is signed in the lower right corner. Bibliography: Maurizio Calvesi (ed.), Afro a Ravenna: opere su carta, grafiche, arazzi, mosaici, RL Stamperia d’Arte, Ravenna, 1991, plate 19, page 170, reproduced work. It is accompanied by a certificate of authenticity on a color photograph, signed and stamped by G. Carlo Bertaccini on the reverse, as well as a copy of the catalogue in which it appears.Batch in international warehouse (within the EU). Intra-EU shipment: no import duties apply within the EU. Export permit from the country of origin may be required.

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