{"product_id":"sandro-chia-angelo-custode-2","title":"Sandro Chia - Guardian Angel","description":"EXCELLENT WORK BY MASTER SANDRO CHIA IN MIXED TECHNIQUE (LITHOGRAPHY, SILKSCREEN PRINTING AND CARBORUNDUM) IN ONLY 50 COPIES\n\u003cdiv class=\"intro\"\u003e Sandro Chia is one of the leading exponents of the Transavanguardia group. His life, style, and major works.\u003c\/div\u003e\r \n\u003cstrong\u003eSandro Chia\u003c\/strong\u003e , pseudonym of \u003cstrong\u003eAlessandro Coticchia\u003c\/strong\u003e (Florence, 1946), is an artist, painter, and sculptor among the leading exponents of the \u003cstrong\u003eTransavanguardia\u003c\/strong\u003e movement. He spent much of his time between Italy and the United States, where he first traveled in the 1980s. His works were initially more conceptual, later moving into a more figurative phase. Essentially, both phases share a common element: the \u003cstrong\u003edreamlike, surreal atmosphere\u003c\/strong\u003e that surrounds the protagonists.\n\r \nOver the years, the \u003cstrong\u003ehuman figure\u003c\/strong\u003e has increasingly occupied a prominent place in Chia's canvases, assuming hieratic proportions. Although the characters depicted are humble, the artist presents them as if they were, in all respects, mythological heroes, further elevating the composition by often incorporating more or less obvious references to the great masterpieces of the past, reworking them and bringing them into a personal dimension.\n\u003ch2\u003e The life of Sandro Chia\u003c\/h2\u003e\r \nSandro Chia (real name Alessandro Coticchia) was born in \u003cstrong\u003eFlorence\u003c\/strong\u003e on April 20, 1946, and studied at the Academy of Fine Arts in the Tuscan capital. He traveled for a time in India, Turkey, and Europe, and upon returning to Italy in 1970, he settled in Rome and held his first solo exhibition in 1971 at the \u003cem\u003eLa salita\u003c\/em\u003e gallery. A few years later, he joined the \u003cstrong\u003eTransavanguardia\u003c\/strong\u003e collective and participated, along with the other artists of the group, in the “Aperto 80” section of the \u003cstrong\u003e1980 Venice Biennale\u003c\/strong\u003e , later holding a solo exhibition in New York. After about a decade in Rome, he decided to move to New York, where he remained for about twenty years, continuing to travel regularly between the United States and Italy.\n\r \nHe returned to the Venice Biennale in 1984 and 1989, while continuing to exhibit his works in major Italian and international museums, such as the Castello di Rivoli, and then in New York, at the Solomon R. Guggenheim in 1983 and the Met - Metropolitan Museum of Modern Art in 1984, respectively. The artist still lives between Miami, Rome, and Tuscany, more precisely at the Castello Romitorio in Montalcino. Since 1987, he has also been involved in the production of prestigious wines, including the famous Brunello di Montalcino. In 2003, the Italian State acquired three of his works, which became part of the permanent collection of the Italian Senate at Palazzo Madama, while in 2005, the Province of Rome purchased two monumental sculptures, which were placed in front of its headquarters in Rome. Auctions featuring his works are quite frequent and very successful; for example, in 2007 his work \u003cem\u003eThe Pharmacist's son\u003c\/em\u003e (1981) was \u003cem\u003e\u003cstrong\u003esold at Christie's in the United Kingdom for 300 thousand euros, setting a record.\u003c\/strong\u003e\u003c\/em\u003e\n\u003ch2\u003e \u003c\/h2\u003e\n\nThe artist initially turned to \u003cstrong\u003econceptual art\u003c\/strong\u003e soon after moving to Rome. From the mid-1970s, Chia instead preferred to devote himself to figurative art, and joined the \u003cstrong\u003eTransavanguardia\u003c\/strong\u003e group, becoming one of its best-known exponents. The movement was founded by the art critic \u003cstrong\u003eAchille Bonito Oliva\u003c\/strong\u003e , and included Francesco Clemente, \u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/mimmo-paladino-artista-transavanguardia-vita-opere-stile\"\u003eMimmo Paladino\u003c\/a\u003e , Nicola De Maria, and Enzo Cucchi. The Transavanguardia artists were distinguished by their use of very bright and impactful colors, applied to the canvas with bold, thick brushstrokes. Meanwhile, starting in 1982, Chia began to devote himself to sculpture in parallel with his painting.\n\r \nThe concept that characterizes Chia's art is the belief that \u003cstrong\u003ethe lifeblood that nourishes art is intrinsic to itself\u003c\/strong\u003e . The artist believes it is necessary for artists to recognize what came before them and to regard the masters with respect, so as to then be able to reference them in their works. Indeed, Chia looks closely at the masterpieces of artists of the past, including Titian, Masaccio, Tintoretto, \u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/lorenzo-lotto-vita-opere-pittore-inquieto\"\u003eLorenzo Lotto\u003c\/a\u003e , and \u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/michelangelo-la-vita-le-opere-i-capolavori\"\u003eMichelangelo Buonarroti\u003c\/a\u003e , but also at contemporary examples such as Giorgio de Chirico, Fernand Lèger, Paul Cézanne, Francis Picabia, and \u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/marc-chagall-vita-opere-stile\"\u003eMarc Chagall\u003c\/a\u003e , reworking their achievements and making them his own through numerous references and quotations that he incorporates into his works, often in an ironic and allusive manner.\r \n\r \nChia's first works are, therefore, certainly figurative but very conceptual, including \u003cem\u003eLa mercante di scacchiere\u003c\/em\u003e (1976), in which a female figure seen from behind moves between different checkered surfaces of different colours and sizes that fill the entire canvas, just as if one were in a dream dimension; or \u003cem\u003eOssa, cassa, fossa\u003c\/em\u003e (1978) in which a man looks into a sort of abyss represented by a black parallelepiped carved into a red wall, in which the words that give the work its title can be read; finally, one of the works in which there are quotations derived from De Chirico's metaphysical works is remembered, namely \u003cem\u003eSul tetto, sulla strada\u003c\/em\u003e (1979).\u003cem\u003e \u003c\/em\u003eAs the years went by, human figures gradually \u003cstrong\u003etook over much of the canvas\u003c\/strong\u003e . These figures, clearly delineated by black outlines and composed of imposing volumes, stand out against vibrant backgrounds that are both timeless and placeless, perpetuating the sensation of being faced with a visionary dream made up of seemingly irreconcilable contrasts. In particular, these works reveal explicit references to the contrasts between the ancient and the contemporary, between the Apollonian and the Dionysian, between passion and rationality. It is no coincidence that in both Chia's sculptures and paintings, the most frequently recurring character is the male, presented as a hero, symbolizing the artist himself in an attitude of rebellion and self-affirmation. In this way, the works become for the artist an \u003cstrong\u003eadventurous challenge\u003c\/strong\u003e whose ultimate goal is to find his own freedom and be able to let go completely without limits.\r \n\r \nThe heroic device, however, is constantly underplayed by Chia through the use of irony, as is evident for example in \u003cem\u003eUnfinished Symphony\u003c\/em\u003e (1980), in which a figure seen from behind, turned to look at the viewer, vents his creativity as if it were a bodily instinct to be unleashed. In this specific case, creativity is represented by a musical score, but in any case the artist implies that the work refers to creativity in general. Following this work is \u003cem\u003eFigures with Flag and Flute\u003c\/em\u003e (1983), which portrays two men sitting outdoors at night, one intent on playing a flute while the other holds a flag. It is a scene with humble tones, yet Chia instills in the protagonists an aura of great importance, as if they were heroes of a great historical poem. Also emblematic is \u003cem\u003eIl pittore\u003c\/em\u003e (1983) in which the figure that dominates the entire space of the canvas has the face of a statue, while the rest of the body is human and portrayed while holding in his hands a painting made simply of shapeless spots of colour.\r \n\n\u003cstrong\u003eSculpture,\u003c\/strong\u003e too, is \u003cstrong\u003eperfectly integrated into Chia's artistic intent\u003c\/strong\u003e , as evidenced by \u003cem\u003eUntitled\u003c\/em\u003e from 1984. The human figure is always the protagonist and is depicted reprising, or rather mocking, the typical poses of ancient sculpture. The torso, in fact, follows an exaggerated, unnatural torsion, while the eyes appear at least twice as large as normal, continually blurring the line between imagination, dream, and reality.\n\r \nIn Chia's prolific production of the 1990s and 2000s, there continue to be clear references to the past, particularly towards Braque and Picasso (it is no coincidence that the figures present in a series of \u003cem\u003eUntitled\u003c\/em\u003e works from 2006 seem to be taken directly from \u003cem\u003eLes Demoiselles d'Avignon\u003c\/em\u003e , as they feature female figures, presented individually, whose contorted positions recall those found in Picasso's famous work). References to \u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/futurismo-origini-sviluppo-principali-esponenti\"\u003eFuturism\u003c\/a\u003e also recur in this period, evident in the dynamic backgrounds composed of blocks of bright colours that are very reminiscent of the works of\u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/umberto-boccioni-vita-opere-artista-futurismo\"\u003eUmberto Boccioni\u003c\/a\u003e , \u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/giacomo-balla-futurista-vita-opere\"\u003eGiacomo Balla\u003c\/a\u003e and\u003ca href=\"https:\/\/www.finestresullarte.info\/arte-base\/fortunato-depero-vita-opere-artista-futurismo\"\u003eFortunato Depero\u003c\/a\u003e , to the point of explicitly naming the movement in the title \u003cem\u003eFotografo futurista\u003c\/em\u003e from 2003.\r \n\nIn 1999, Chia also created portraits of Italian Pop Art artists, for an exhibition at the Chiostro del Bramante in Rome dedicated to the movement. His works from the 2000s continued the trend of presenting \u003cstrong\u003ethe hieratic and plastic figure across the board\u003c\/strong\u003e , with a variation in the color palette, which became less contrasting and more nuanced, playing on shades of green, blue, pink, and white. One example is \u003cem\u003eAttesa\u003c\/em\u003e (Attesa, 2013–14), in which a handsome young man is portrayed sitting on a rock, waiting for someone, and behind him stands a landscape of rounded and simplified, yet still plastic, volumes. The entire composition is based on various shades of blue, aquamarine, and gray, while the contours are clearly delineated by thick black lines.\n\u003cfigure class=\"immagini-testo\"\u003e\u003cfigcaption\u003e Sandro Chia, \u003cem\u003eWaiting\u003c\/em\u003e (2013-14; oil on canvas, 60 x 50 cm)\u003c\/figcaption\u003e\u003c\/figure\u003e\n\u003ch2\u003e Where to see Sandro Chia's works\u003c\/h2\u003e\r \nMany of the artist's works are part of private collections, and many are still for sale in Italian galleries and auctioned today. However, several of the artist's works are held in important museums, both Italian and international. In northern Italy, Chia's works can be admired at the Castello di Rivoli, where the paintings \u003cem\u003eBruti Protagonisti della Fantasia Erotica di Una Ape\u003c\/em\u003e (1979-80), \u003cem\u003eSinfonia Incompiuta\u003c\/em\u003e (1980), \u003cem\u003eFigures with Flag and Flute\u003c\/em\u003e (1983), \u003cem\u003eUomo in Rosa\u003c\/em\u003e (2001) and the sculpture \u003cem\u003eSenza titolo\u003c\/em\u003e (1984) are housed.\n\r \nAnother significant group of works is owned by the Mazzoli Gallery in Modena, especially recently created paintings such as \u003cem\u003eDiscussion on Art and Painting\u003c\/em\u003e (1998-2000), \u003cem\u003eMelancholy of the Painter\u003c\/em\u003e (1999-2000), \u003cem\u003eImmortal Gino\u003c\/em\u003e (2000), \u003cem\u003ePortrait of Enzo\u003c\/em\u003e (2001), \u003cem\u003eUntitled 2\u003c\/em\u003e (2003), \u003cem\u003eUntitled 1\u003c\/em\u003e (2003), \u003cem\u003eWaiting\u003c\/em\u003e (2013-14), \u003cem\u003ePosing\u003c\/em\u003e (2013-14). Also in Emilia Romagna, the Maramotti Collection in Reggio Emilia houses \u003cem\u003eDionisio's Kitchen\u003c\/em\u003e (1980). In Rome, Chia's works are present in the Giorgio Franchetti collection, which includes \u003cem\u003eBridge of Frogs Without the Bridge\u003c\/em\u003e (1979), \u003cem\u003eThe Lie\u003c\/em\u003e (1979-80), and in the D'Ercole collection, where \u003cem\u003eExcited Shepherd\u003c\/em\u003e (1980) and \u003cem\u003eLeave the Artist Alone\u003c\/em\u003e (1985) are preserved.\n\r \nIn Europe, Chia's works are present in several countries. In Switzerland, \u003cem\u003eThe Chessboard Merchant\u003c\/em\u003e (1976) is in the Gunti Brands Collection, while in Berlin The \u003cem\u003eReckless Raft\u003c\/em\u003e (1982) is in the Marx Collection, and \u003cem\u003eRabbit for Dinner\u003c\/em\u003e (1982) is kept in the Stedelijk Museum in Amsterdam. In Great Britain, two works dated 1981 can be found: \u003cem\u003eCourageous Boys at Work\u003c\/em\u003e , in the Scottish National Gallery of Modern Art in Edinburgh, and \u003cem\u003eWater Carrier London\u003c\/em\u003e , in the Tate Gallery in London. Finally, \u003cem\u003eThe Idleness of Sisyphus\u003c\/em\u003e (1981) can be admired in the MoMA - Museum of Modern Art in New York.","brand":"CAPORALE IRENE","offers":[{"title":"Default Title","offer_id":56218812055938,"sku":"CAPIR002","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/CHIA-2.jpg?v=1768476953","url":"https:\/\/cjfh11-ee.myshopify.com\/en\/products\/sandro-chia-angelo-custode-2","provider":"Venderequadri","version":"1.0","type":"link"}