(Hagen 1912–1999 Sant Josep de sa Talaia)
Pasaquita, 1957, signed and dated, oil and mixed media on canvas,
140.5 x 96 cm, framed

This work is accompanied by a photo certificate of authenticity signed by Dr. Ulrich Schumacher.

This work is also accompanied by a letter of authenticity issued by the Emil Schumacher Stiftung, Hagen, signed by Dr. Ulrich Schumacher.

As stated, the painting will be included in the future Catalogue Raisonné of the artist.

Provenance:
Galleria Pater, Milan (label on the reverse)
Galleria del Milione, Milan (stamp on the reverse)
Luigi Ardemagni Collection, Milan
Franco Gaslini Collection, Milan
European Private Collection
Sale, Finarte Milan, 14 March 2006, lot. 347
Galleria J&G, Milan
European Private Collection

Exhibited:
Lissone, XI Premio Lissone, Palazzo delle Esposizioni, 1959,
exh. cat. p. 47, with ill. (label and stamp on the reverse)
Aosta, Una Stagione Informale, Museo Archeologico Regionale,
21 June – 25 October 2014, exh. cat. p. 64, with ill. (label on the reverse)

Literature:
Civica Galleria d’Arte Contemporanea di Lissone, Mazzotta, Milan, 1995,
p. 108, with ill.

"Schumacher's paintings are full of the experience of the banal, but he builds in the unconscious or the hyper-unknown, the archaic and the present above the foundation of the surrounding whole. These extremes meet in the unreal, and the painter creates the place of apparition in the painting. He, like Rimbaud, manages to observe the invisible.

Schumacher's paintings contain that which is beyond our vision, that which moved Leonardo and that Wols, during his walks in Paris, observed on the walls of old houses: the improbability of reality, which constitutes itself from itself and in which man occasionally intervenes. His squiggles aim to equal nature, but nature and history overlap, until one day a new dialogue begins between nature and man, history and moment, and so on ad infinitum. An ever-evolving process in which constraint and freedom are balanced.

Schumacher carefully takes every opportunity to point out that what counts here, too, is form, die Gestalt; albeit far from the known.

Just as the poet imprisons words, the painter tunes his antennae to signs and colours, which become concrete. They may seem abstruse, but the time comes when they are with us as familiar things or memories".

Will Grohmann (ed.), Introductory text to the catalogue of the retrospective hosted by the 'Galleria dell'Ariete', Milan opened on 16 February 1959