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Lorenzo Vignoli
Relazioni Amore II - contemporary Italian figurative tabletop bronze sculpture
2010

Name: Relazioni Amore II - contemporary Italian figurative tabletop bronze sculpture
Brand: Lorenzo Vignoli
Rating: 4.9 (12 reviews)

$12,400

£9,346.73

€10,932.20

CA$17,551

A$17,869.46

CHF 10,291.20

MX$215,313.23

NOK 119,430

SEK 120,497.50

DKK 81,713.67

About the Item

a strikingly expressive bronze sculpture by contemporary Italian marble and bronze sculptor Lorenzo Vignoli RELAZIONI ( AMORE II ) by Lorenzo Vignoli (2010) 17inch W x 14inch H x 10inch D 45cm W x 37cm H x 26cm D 33lb / 15kg Lorenzo Vignoli studied Painting at Central Saint Martin's School of Art in London and Figure Drawing & Urban Landscape at Art Institute of Chicago before embarking on years of formative travels, gathering creative inspirations in far flung places like Ruanda, Israel, Bosnia and Brazil. Returning to his home town of Carrara, Italy, he continuously adds captivating sculptures to a large scale body of work, while occasionally collaborating on artwork commissions for various international artists, including a modern marble monument commissioned by Tony Cragg for the Cathedral of Milano. Lorenzo Vignoli's sculptures are evocative of classical forms as much as they are influenced by modern abstract art. Excerpt from Lorenzo Vignoli artist statement: The aesthetic economy of today's world causes a redefinition of beauty that is both cumbersome and uncomfortable. Understood not as a temporary assertion prone like all things, a "cupio dissolvi", but rather as the presumption of duration of the residual portion of provocation and of meaning. The instinctive choice of marble, a traditional material par excellence, contributed greatly in narrowing the focus of work by Lorenzo Vignoli; for Vignoli the search for a dialogue and relationship with the material is first and foremost. A sculptor is not a spectator, and the gradual emergence of the work is akin to performance art in which "recognition" and expression are two competing forces. Vignoli's is the synthesis of the school of Canova, which sees sculpture as a three- dimensional extension of the reduced plastic potential of drawing, and that of Michelangelo, which approaches material with a more open mind, with more questions than answers, trying to find images within the marble which mirror our ability to find something in reality that reflects us. Sculpture is never, except in a derogatory sense, mimesis or an imitation of our world. The amount of naturalism within an artist's production is measured by the awareness that, contrary to the act of painting, a creation ex nihilo, in this case we are dealing with forms trapped inside other forms. One of the characteristics of Vignoli's work is the quest for a type of "ecology of tension” toward the form, which seems to me a type of respect in the face of a too obvious and loud result, a step backward which preserves the triangulation of dialogue and intention between the piece itself, the artist, and the observer who might be able to capitalize on the sculptor's own creative intuitive reserve. But this is not merely an invitation to imaginatively finish the work, or to sand down the unfinished portion with our imagination. There's something different and bigger inside; a feeling of time which has to do with the idea that a specific relationship should not necessarily “end” with a definitive result, but rather as with all things human remain “open”. Excerpt from Lorenzo Vignoli catalog: "I was born in one of the valleys of the Apuan Alps. Since I was a small child I learned to respect the mountains and absorbed their profound meaning. My mother instilled in me the sensitivity I have for the beauty of these mountains. My Father taught me to respect them. After many years of research and study, traveling from country to country, I have realized how much these mountains meant to me. This is the reason I chose the marble from these mountains to manifest my view of life, and express my creativity. Like the roots of a tree, a sculpture is born from the earth. This forces me to look below the surface, beyond the exterior, into the layers of humus and fossils for the inspiration to realize my vision. I come from Pietrasanta and Carrara, which are historically the two largest centers for sculpture in Italy. Thanks to the sculpting tradition that is deeply settled in my territory, I had the chance to interact with marble, bronze, ceramics plastic, resins and wood, experimenting and exploring the world of materials and the volumes, from ancient tradition to contemporary design. I tried to grasp the sculpting tradition as a value and its essence through the centuries of transformation by the work of man trying to recover both part of a tradition, which is disappearing, as well as the contemporary elasticity, in its speed and in its ephemeral sensitivity. My interest lies in examining the encounter of these two aspects as the meeting point of different materials that prompts me to highlight this aspect, emphasizing the point of contact, a sharp line that divides the materials, a line that divides the world of the past from the one of the future like the gap which is growing larger and larger, splitting a unique essence.

Creator:
Lorenzo Vignoli (1981, Italian)
Creation Year:
2010
Dimensions:
Height: 17 in (43.18 cm)Width: 14 in (35.56 cm)Depth: 10 in (25.4 cm)
Medium:
Bronze,Metal
Movement & Style:
Contemporary
Period:
21st Century
Condition:
Gallery Location:
San Francisco, CA
Reference Number:
Seller: Edition Ektalux - Lorenzo Vignoli - AMORE1stDibs: LU24222226253

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Fantastic Sculpture of a couple of naked lovers kissing, Both nude. Perfect size, will go perfect in any space. Francesco Messina (15 December 1900 – 13 September 1995) was an Italian sculptor of the 20th century. Francesco Messina was born at Linguaglossa in the Province of Catania in a very poor family. Growing up in Genoa, where he also studied and lived until he was 32, he then moved to Milan. Art historians consider him one of the most important figurative sculptors of Novecento, together with Giacomo Manzù, Arturo Martini, Marino Marini. He is the author of some of the greatest works of the Novecento Italiano[citation needed] and his sculptures are displayed in the most famous museums, among which: Bern, Zürich, Gothenburg, Oslo, Munich, Paris, Barcelona, Berlin, São Paulo, Buenos Aires, Venice, Moscow, Saint Petersburg, Vienna, Washington, D.C. and Tokyo. From 1922, he began exhibiting his work regularly at the Biennale Internazionale d'Arte in Venice and between 1926 and 1929 he took part in the expos organised by the art group Novecento Italiano in Milan. In 1932, he moved to Milan, where in 1934 he obtained a tenured professorship 1934 in Sculpture at the Accademia di Belle Arti di Brera, of which he became the director within two years. During those years, about him wrote Carlo Carrà: Francesco Messina's sculpture is characterised by a simple and grandiose manner, by an idealistic and classic procedure, able to give life to forms which become "ideal images". In the 1930s, Messina exhibited at important collective expos of Italian art in Barcelona, Berlin, Bern, Gothenburg, Munich, Oslo, Paris, São Paulo, Zurich, while executing various sculptures in many Italian cities. In 1936 he was appointed director of the Accademia di Brera, which position he will keep until 1944. His work was also part of the sculpture event in the art competition at the 1936 Summer Olympics.[ In 1938, Giorgio de Chirico in Rome and Salvatore Quasimodo in Turin presented two personal exhibitions of Messina's work. In 1942 he won the Sculpture Prize at the XXIII Biennale Internazionale d’arte of Venice, where he exhibited fifteen sculptures and seventeen drawings. In 1943, Messina was appointed Academic Emeritus of Italy. On the collapse of the fascist regime, he was temporarily dismissed from the academy, only because he had been its director during the fascist period. However, by 1947 he had already regained his professorship. In the same period the artist took part in the Graphic & Sculpture Expo at Buenos Aires, in the Muller Gallery, achieve a noticeable success. In 1949 he exhibited at the 3rd Sculpture International held by the Philadelphia Museum of Art in Philadelphia, together with Marino Marini and Picasso. Romantica, c. 1973 (Fondazione Cariplo) In 1956 he participated with a personal exhibition at the XXVIII Biennale di Venezia. In 1963 he produced the great monument to Pope Pius XII for St. Peter's Basilica in the Vatican, as well as the bust of Pietro Mascagni for the Teatro alla Scala. In the same year he was awarded the Michelangelo Prize for Sculpture in Florence. In 1966 Messina was commissioned by Italian RAI to create the Cavallo morente (Dying Horse...

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