(Rome 1927–2005 Todi)
Piccola correzione, 1955, signed and dated Dorazio 55, on the reverse two stamps of the atelier Dorazio, Todi with handwritten number 174, oil on canvas, 45 x 50 cm, framed

Provenance:
Galleria Marlborough, Rome
Marlborough-Gerson Gallery, New York
Studio La Torre (two stamps on the reverse)
Private Collection, Italy

Exhibited:
Rome, Piero Dorazio, Galleria Marlborough, 1964;
New York, Dorazio, Marlborough-Gerson Gallery, 1965, cat. no. 1 with ill.

Literature:
M. Volpi Orlandini/J. Lassaigne/G. Crisafi (eds.), Dorazio, Alfieri, Venice, 1977, cat. no. 174, ill. no. 29

Colour has a natural autonomy. By itself it induces in the viewer, through an optical and psychological mechanism, measurable sensations, but also awareness, learning and action. It has a known function as signal or symbol. I do not try to instruct the viewer on the function of Colour but rather to continue my own education as to its possibilities. Combining the elements of painting in my own wat, certain images result. I then see to what extent, these come near to what I already know, or had hoped to know. I am sure that what I discover today the viewer will see to-morrow. Colour, form, space, surface, and movement are the stimuli to visual perception and through perception they induce human emotions and behaviour. Two persons with similar taste might more readily communicate. But painting and its particular problems are also concerned with a search for “identity” by means of a visual language that we have inherited, which we try to develop further.
Piero Dorazio, New York, 1965