(Livorno 1924–2023 Rome)
Tempi d’oro per i numeri infiniti, 1962, titled, signed and dated on the reverse, mixed media on canvas, 190 x 208 cm, framed

The registration of the work in the Archivio Fondazione Baruchello has been requested and a photo certificate will be issued.

Provenance:
Galerie Michael Hasenclever, Munich
acquired 1989 directly from the artist
European private Collection

Exhibited:
Munich, Galerie Michael Hasenclever, Baruchello. Bringer of Plurabilities, exh. cat. page 21, ill.
Munich, Galerie Michael Hasenclever; Gianfranco Baruchello. Round Trip, exh. cat. cover and cat. no 2, ill.

Gianfranco Baruchello’s artistic reflections on the seemingly banal take various forms: painting, sculpture, video, happenings, literature and collective farming. Despite his refusal to be clearly labelled, he is best known for his paintings of miniaturised off-centre universes of symbols, letters and markings.

His large canvases of the early 1960s open up dynamic mental spaces in a beguilingly enigmatic way. Baruchello sporadically places traces of colour, single lines, and vague shapes that refer to an alphabet of signs developed from everyday objects onto multi-layered surfaces whose finely graduated shades of white take on a life of their own.

Baruchello began his career as a self-taught artist in 1959. In 1962, he took part in the groundbreaking exhibition The New Realists in New York and then pursued a busy international exhibition schedule until the late 1970s, when he largely withdrew from the art market. The last decade has seen renewed interest in his work with his return to Documenta (1977 and 2012) and the Venice Biennale (1976 and 2013), as well as numerous retrospectives.