Atrás

MAX PELLEGRINI (n. 1945)

BIO DEL ARTISTA CONSULTARDESCARGAR PDF
 
From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom
From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”<br><br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom
Vita di un'anarchica: la scelta1997-200951 x 63 pulg.(129,54 x 160,02 cm) óleo sobre lienzo

57,000

Desde finales de la década de 1990 hasta principios de la de 2000, Pellegrini volvió a sus pinturas de la serie La vida de un anarquista, "las reelaboró, las construyó en'capas', las corrigió, inició series o volvió a las iconografías de sus obras pasadas". Estas pinturas, dedicadas a la esposa de Pellegrini, Roberta, representan a una mujer libre y positiva, y forman parte de una larga línea de obras en las que hay una protagonista femenina absoluta. (Sara D'Alessandro, "Biografía", en Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini tenía en mente a su esposa para estas pinturas, ya que "se considera una anarquista integrada, una mujer sin prejuicios pero no fanática ni destructiva"

- Texto parcial adaptado de Max Pellegrini, julio de 2015, en conversación con el comisario Chip Tom
Atrás
Preguntar