(Rome 1927–2005 Todi)
Controforma prova 3, 1949, signed and dated Piero Dorazio 49; signed, dated again and titled Controforma prova 3 on the reverse with the stamp of the Studio Piero Dorazio no. 388, oil on canvas, 61 x 95 cm, framed

Provenance:
Atelier of the artist (stamp on the reverse)
European Private Collection

Literature:
M. Volpi Orlandini/J. Lassaigne/G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 53 with ill.

“When Dorazio describes his first meeting with Severini in 1946, his meeting with Magnelli, his first meeting with Balla in 1949-50, his friendship with Venturi, from which followed his lessons on pre-Cimabue painters and on Cézanne, the meeting with Ripellino which informed the young Romans of Malevic and Constructivism, the meeting with Nina Kandinsky […] and so on, he demonstrates a passion and tenacity which render his accounts as fascinating as they are moving. […] It is at this point that Dorazio, little more than twenty years old, completes his first paintings in Paris. In these, the coloured line transmits tension and, by relating itself to the painted background at regular if varied intervals, creates pictorial counterpoints that seem to conduct the first Futurist and abstract experiences, giving life to works which oscillate between Magnelli and Kandinsky, between Futurism and Klee.”
Dorazio Catalogo ragionato delle opere, Alfieri, 1977

“The pictorial experience is by its nature tied to the perception of space through the sensations of colour (light) and form (drawing and composition), which convey to the observer the spatial characteristics as well as the formal and chromatic physiognomy of the image.”
Piero Dorazio, 1976