(Rome 1938–1987)
Indagine sul punto 1, 1966, signed, dated and titled Festa ’66 on the reverse, enamel on canvas, 54 x 65.5 cm, framed

Photo certificates:
Studio Soligo – Archivio Storico Tano Festa, Rome, archive no. RMS66546501004166
Archivio Generale dell’Opera di Tano Festa, curated by Anita Festa, Pernumia, 19 October 2016, archive no. A2515/1660

Provenance:
Arturo Schwarz Collection, arch. no. 7692 (label on the reverse)
European Private Collection

„Echoes of the Sistine Chapel are successfully softened in Festa’s painted screens. They rekindle the use of classical iconography through his practice of quotation. 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 frames of his paintings“.
A. Bonito Oliva, “Il tallone di Achille. Sull’arte contemporanea”, Feltrinelli, Rome 1988

Photo certificate:
Studio Soligo – Archivio Storico Tano Festa, Rome, archive no. RMS66546501004166

The registration in the Archivio Generale dell’Opera di Tano Festa, curated by Anita Festa has been required for this lot.

Provenance:
Arturo Schwarz Collection, arch. no. 7692 (label on the reverse)
European Private Collection

„Echoes of the Sistine Chapel are successfully softened in Festa’s painted screens. They rekindle the use of classical iconography through his practice of quotation. 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 frames of his paintings“.
A. Bonito Oliva, “Il tallone di Achille. Sull’arte contemporanea”, Feltrinelli, Rome 1988