(Rome 1938–1987)
Da Mondrian a Michelangelo, 1968, signed and dated Festa 68, titled, signed and dated again “Tano Festa, Roma, ottobre 1968” on the stretcher, acrylic and enamel on canvas, 200 x 100 cm, framed

Photo certificate:
Tano Festa. Archivio delle Opere curated by Anita Festa, archive no. A2526/1760
Archivio Tano Festa, Studio Soligo, Rome, archive no. 6821/P556

Provenance:
Galleria La Bertesca, Genoa (stamps on the reverse)
Private Collection, Rome
European Private Collection

Exhibited:
Genoa, Tano Festa, Galleria La Bertesca, October-November 1968 (inscribed on the reverse)
Milan, Galleria Levi, 1972, exh. cat., curated by T. Trini, p. 55
Rome, Ex Stabilimento Peroni, Tano Festa, 12 March - 24 April 1988, exh. cat. p. 81, no. 47 with ill. (label on the reverse)

“Festa well knows […] how impossible it is to overcome the momentum of distance and how history is not a hindrance, but rather the result of an itinerary and a path capable of arming the creative process with tools for dialogue […] through the practice of citation. The artist does not, however, wish to emulate the Old Masters, Michelangelo, Van Eyck or Ingres, with his technique. He recognises the distance between them and emphasises this separation with the iconographic inscription in the stills of his paintings.”
A. Bonito Oliva, “Il tallone di Achille. Sull’arte contemporanea”, Feltrinelli, Rome 1988

Photo certificate:
Tano Festa. Archivio delle Opere curated by Anita Festa, archive no. A2526/1760
Archivio Tano Festa, Studio Soligo, Rome, archive no. 6821/P556

Provenance:
Galleria La Bertesca, Genoa (stamps on the reverse)
Sampietro Collection, Rome
European Private Collection

Exhibited:
Genoa, Tano Festa, Galleria La Bertesca, October-November 1968 (inscribed on the reverse)
Milan, Galleria Levi, 1972, exh. cat., curated by T. Trini, p. 55
Rome, Ex Stabilimento Peroni, Tano Festa, 12 March - 24 April 1988, exh. cat. p. 81, no. 47 with ill. (label on the reverse)

“Festa well knows […] how impossible it is to overcome the momentum of distance and how history is not a hindrance, but rather the result of an itinerary and a path capable of arming the creative process with tools for dialogue […] through the practice of citation. The artist does not, however, wish to emulate the Old Masters, Michelangelo, Van Eyck or Ingres, with his technique. He recognises the distance between them and emphasises this separation with the iconographic inscription in the stills of his paintings.”
A. Bonito Oliva, “Il tallone di Achille. Sull’arte contemporanea”, Feltrinelli, Rome 1988