(Siena 1919–1974)
Discorso ininterrotto, 1963, signed and dated Sadun 63, dated on reverse ‘63 C III n. 46, also on the stretcher, oil on canvas, 211 x 302 cm, in wooden batten frame

The work has been registered in Archivio Piero Sadun, Siena, curated by Giovanna Sadun, under the no. CIII/46

Provenance:
Galleria La Salita, Rome (stamp on the reverse)
Private Collection, Italy

Exhibited:
Rome, La Salita presenta due dipinti recenti di Piero Sadun, Galleria La Salita, December 1963
Rome, Sadun-antologica, Palazzo Barberini, December 1976/January 1977
Siena, Sadun-Opere dal 1938 al ‘74 e disegni della Resistenza, Palazzo Pubblico, March/April 1977
Rome, Accardi/Mastroianni/Sadun, Editalia QUI Arte Contemporanea, December 1989/January 1990
L’Aquila, Sadun 100, Palazzo dell’Emiciclo, June 2019 and Siena, Magazzini del Sale, Jule/September 2019, cat. p. 85 with ill.

Literature:
Ken Wlaschin, da Art, in Daily American Weekly, Rome, February 1964

In the early 1960s, Piero Sadun developed a personal interpretation of abstract art, the most significant of the artistic avant-garde movements of the early twentieth century and the starting point of Abstract Expressionism. Piero Sadun’s monochrome paintings are marked by rips and tears in the pictorial texture which expose the medium itself. They carry their own history, inscribed on a surface which, in the folds of its architecture, contains superimpositions, sediments and deposits - of experiences, of the past, of the transformations of time - generating a space full of tensions and original dynamics.
(from “Le trame di Piero”, by Francesca Franco)