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Conceived by Germano Celant. Edited by Mario Mainetti. Foreword by Miuccia Prada, Patrizio Bertelli. Text by Carlo Barbatti, Italo Calvino, Germano Celant, Giulia Lotti, André Pieyre de Mandiargues, Salvatore Settis.
A beautifully produced, definitive survey of Gnoli’s unique painterly amalgam of Pop and Surrealism
Conceived by Germano Celant as a catalog for the largest exhibition ever organized on Italian painter Domenico Gnoli (1933–70), this publication unveils the cultural background and production of an artist best known for a relatively small number of paintings depicting zoomed-in details of objects, architectural features, bodies and garments—drawn in precise miniatures or painted at grander scales.
The volume, designed by Irma Boom, encompasses Gnoli’s work as painter, stage designer and illustrator, and explores his links with the international cultural scene of his time. It includes essays by Germano Celant and Salvatore Settis, texts by André Pieyre de Mandiargues and Italo Calvino, and an illustrated chronology featuring more than 1,000 images, that documents Gnoli’s life and activities—from his early stage and costume design for the Old Vic theater in London to his illustrations for such magazines as Vogue, Horizon and Sports Illustrated.
"Riga in Mezzo No. 1" (1965) is reproduced from 'Domenico Gnoli.'
PRAISE AND REVIEWS
An almost ecstatically overstuffed illustrated chronology filled with art references and excerpts of letters addressed to his family and his creative community.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 2/20/2022
"Cravate" (1967) is reproduced from Domenico Gnoli, the highly anticipated new release from Fondazione Prada. Published to accompany the exhibition on view at Fondazione Prada through the end of this month, this gorgeous, 424-page, Irma Boom-designed paperback is the definitive survey of the Italian painter's unique amalgam of Pop and Surrealism. "In these paintings of lucid, vigorous 'ineloquence,' Domenico Gnoli intensifies and condenses the presence of the objects, and thereby amplifies the absence of the contexts from which he had arbitrarily lifted them," Salvatore Settis writes. "He lends a hypnotic aura, an operative agency to the minuscule segments of the world that he flaunts and dilates. He offers clues, opens glimpses of reality, invites us to understand their complexity, transforms the detail that he himself chose into a random 'archeological' fragment of a world (perhaps dreamlike, perhaps hyperreal) beyond the threshold of our gaze, but not of his. As in art history books, but also in comic strips, his details refer to something else, and not only in keeping with the rhetorical figure of synecdoche, but because shirt collars, shoes, parted hair, armchairs, wristwatches have inventory and probative value. They summon us to 'rêverie and meditation,' they tell us everything we need to know to intuit stories not recounted but condensed into icons…" continue to blog