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ONLINE AUCTION
Works on Paper
7th session

March 02 - March 30, 2023

LOT DETAILS
This session is closed for bidding.
Current bid: $1,800 CAD
Bidding History
Paddle # Date Amount

10357 30-Mar-2023 02:58:28 PM $1,800 AutoBid

31318 30-Mar-2023 02:58:28 PM $1,700 AutoBid

10357 30-Mar-2023 02:58:28 PM $1,600 AutoBid

31318 30-Mar-2023 02:58:28 PM $1,500 AutoBid

10357 30-Mar-2023 02:58:28 PM $1,400 AutoBid

31318 28-Mar-2023 11:23:38 PM $1,300 AutoBid

28038 12-Mar-2023 03:08:17 PM $1,200

10357 04-Mar-2023 01:07:15 PM $1,100 AutoBid

30318 04-Mar-2023 01:07:15 PM $1,000

10357 03-Mar-2023 09:26:38 PM $900 AutoBid

The bidding history list updated on: Friday, March 29, 2024 03:45:40

LOT 623

AANFM LP QMG RCA SAPQ
1933 - 2004
Canadian

Bi-bleu
silkscreen on paper
signed, titled, editioned 45/50, dated 1965 and embossed with the Fondation Guido Molinari blindstamp and on verso inscribed "G.M.-S-67-h-31"
33 3/4 x 22 in, 85.7 x 55.9 cm

Estimate: $2,500 - $3,500 CAD

Sold for: $2,250

Preview at: Heffel Montreal

PROVENANCE
Fondation Guido Molinari, Montreal


Please note: this work is unframed.

Please note: the full sheet size is 36 x 23 inches.

The 1960s coincided with a prolific period for Guido Molinari, marked by a ceaseless exploration of the expressive potential of colour stripes. His art remains associated with those bands of colour. The prints Bi-ocre and Bi-bleu attest to this and were made in 1965 – the same year that he was part of the Responsive Eye exhibition at the Museum of Modern Art (MoMA) in New York City.

The prints are not silkscreen extensions of existing works, although Bi-ocre clearly echoes the painting Mutation jaune-ocre from 1964. Both prints explore two structural variables in the layout of bands of colour – an asymmetry and a symmetry. The asymmetry originates in the width difference in arranging the colour stripes, visible in the print Bi-ocre. The tripartite reading implied by the red tonality in the work masks, through repetition, the unequal widths of the yellow stripes. The diversity of widths in Bi-ocre’s vertical stripes contrasts with the binary organization found in Bi-bleu. In the latter, two narrow blue stripes alternate with planes of intense yellow. Confronted with the two prints, the eye is forced to find its own rhythm. The constant shift of tonalities in Molinari’s works with stripes calls viewers to an experience of imaginary reconstruction. It affords them a glimpse, in the breakages of colour, of the nexus of the work’s structural dynamic.


All prices are in Canadian Dollars


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