Julius Evola 1898 Roma-1974 Roma Lot n° 4

Visione scenografica/ Composizione Dada - Bifrontal work signed upper left Visione Scenografica e Composizione Dada is a bifrontal composition, that is, a work composed of two oil paintings, respectively on the recto and verso of the same cardboard support, executed at slightly different times, one in the Futurist style (on the verso) and the other, slightly later, in an Abstract-Dadaist style (on the recto). The side bearing Scenic Vision (title attributed), is neither signed nor dated; it constitutes the verso of the abstract-Dadaist composition. Reasonably dated by Elisabetta Valento roughly between 1919 and 1920, due to chronological contiguity with the execution of the composition on the recto, signed on the upper left: "EVOLA," from the attributed title Dadaist Composition and the supposed dating to about 1921, the work lends itself-as the scholar, the first to publish it in her essay Homo faber, speculated. Julius Evola between Art and Alchemy (Fondazione Julius Evola, Rome 1994) - to be recognized as belonging to the period of major contacts with Giacomo Balla's painting, also because of the singular imprint with a scenographic cut. The composition on the recto, on the other hand, bears elements that liken it to abstract and Dada research, as also attested by the repetition of the graphic sign identifiable in the letter "D" in Dada. The double painting belonged to Duke Giovanni Colonna di Cesarò (Rome, 1878-1940), to whom it presumably had to come by direct donation from Evola, who was a friend of the politician, who, in turn, invited him to collaborate in 1925 on his fortnightly magazine Lo Stato Democratico. The two-sided work was exhibited for the first and only time at the exhibition Julius Evola and the Art of the Avant-Garde. Between Futurism, Dada and Alchemy in 1998 in Milan. The pictorial drafting on both sides of the painting, based on direct observation, appears to be tunable with the painting technique and subjects adopted by Julius Evola, first during the Futurist experience, and then during the Abstract-Dada period. This set of elements makes the double painting an expression of the two most significant moments of Evolian artistic action in the climate of twentieth-century avant-garde painting. Therefore, in connection with the above, the painting is considered attributable to the artist and is archived as his work. W. 62.3 - H. 75 Cm oil on cardboard on both sides The work has been confirmed and archived by the Scientific Committee for Evola Artist of the Julius Evola Foundation. Numbering will be indicated later to the future owner. Collection Duchess Simonetta Colonna di Cesarò, Rome Private collection, Rome Catalogue of works edited by Carlo Fabrizio Carli and Francesco Tedeschi in Julius Evola, Theory and Practice of Avant-Garde Art, Edizioni Mediterranee, Rome 2018, pp. 411-412 Valento, 1994, ripr. no. 36-37 Palazzo Bagatti Valsecchi, Milan, 1998 Visione Scenografica e Composizione Dada is a bifacial composition, that is, a work composed of two oil paintings, respectively on the recto and verso of the same cardboard support, executed at slightly different times, one in the Futurist style (on the verso) and the other, slightly later, in an Abstract-Dadaist style (on the recto). The side bearing Scenic Vision (title attributed), is neither signed nor dated; it constitutes the verso of the abstract-Dadaist composition. Reasonably dated by Elisabetta Valento roughly between 1919 and 1920, due to chronological contiguity with the execution of the composition on the recto, signed on the upper left: "EVOLA," from the attributed title Dadaist Composition and the supposed dating to about 1921, the work lends itself-as the scholar, the first to publish it in her essay Homo faber, speculated. Julius Evola between Art and Alchemy (Fondazione Julius Evola, Rome 1994) - to be recognized as belonging to the period of major contacts with Giacomo Balla's painting, also because of the singular imprint with a scenographic cut. The composition on the recto, on the other hand, bears elements that liken it to abstract and Dada research, as also attested by the repetition of the graphic sign identifiable in the letter "D" in Dada. The double painting belonged to Duke Giovanni Colonna di Cesarò (Rome, 1878-1940), to whom it presumably had to come by direct donation from Evola, who was a friend of the politician, who, in turn, invited him to collaborate in 1925 on his fortnightly magazine Lo Stato Democratico. The two-sided work was exhibited for the first and only time at the exhibition Julius Evola and the Art of the Avant-Garde. Between Futurism, Dada and Alchemy in 1998 in Milan. The pictorial drafting on both sides of the painting, based on direct observation, appears to be tunable with the painting technique and subjects adopted by Julius Evola, first during the Futurist experience, and then during the abstract period