Arcangelo Ianelli

Arcangelo Ianelli’s abstraction is structured around planes of colour, squares and rectangles, bounded by fine hand-drawn lines; this is how curator Denise Mattar describes the geometric construction of his work. In the geometric series «Balé das formas» (1973), the diagonal plays a central role in separating colours and spaces. According to Mattar, a stay in Rome, made possible by an award, contributes to Ianelli’s interest in abstraction; the artist and his family then spend two years in Europe, where he presents solo exhibitions and takes part in group exhibitions, including in Switzerland. Mattar also reports that, on returning to Brazil after living in Europe and painting there continuously, Ianelli suffered from poisoning due to oil paint and turned to tempera.

In 1987, at the XIX São Paulo Biennial, he presents five works from the series that will become known as «Vibrações». A text by Giulio Carlo Argan on Ianelli appears in the brochure for his solo exhibition at the Brazilian Embassy in Munich in 1966, and is later reused for his 1974 solo exhibition at the Brazilian-American Cultural Institute in Washington. Mattar notes that Ianelli was not affiliated with any movement and reports the artist’s words: «The picture must speak for itself, without the need for dissertations.» A sale entry for «Composição em cinza/beige» records provenance from Dan Galeria in São Paulo, indicated by a label on the reverse, followed by a private collection in Switzerland.

Works recorded at auction

Dobiaschofsky

"Composition in grey/beige".

Oil on canvas

Original catalogue wording

"Composição em cinza/beige".
Öl auf Leinwand

Date to be documented

Catalogue reference — sale not confirmed

View the lot at the auction house ↗

Dobiaschofsky

"Geométrico branco".

Oil on canvas

Original catalogue wording

"Geométrico branco".
Öl auf Leinwand

Date to be documented

Catalogue reference — sale not confirmed

View the lot at the auction house ↗