(Ancona 1947–1998 Rome)
Opera Ubiqua (Delfina D. D. - Auronia D. D.) 1996, graphite on silkscreen, on masonite, 86 x 39 cm, framed

Photo certificate:
Fondazione Archivio Gino De Dominicis, Rome, under the archive no. GDD/Operaubiqua/grafitesumason ite/SP-RC/1997–02 (with incomplete technique and wrongly dated 1997)

Provenance:
Studio of the artist
Sergio Pandolfini Collection
European Private Collection

Exhibited:
Sant’Elpidio a Mare (FM), Bianco, Italiano e..., Real Arte, 16–23 April 2016, exh. cat. with ill.

Literature:
I. Tomassoni, Gino De Dominicis, Catalogo ragionato, Skira (ed.), Milan, 2011, p. 484–485, no. 548 with ill.

The work presented here is an important sketch executed, with great refinement and skill, for the Opera Ubiqua series. In his preparatory work for the creation of the multiple Opera Ubiqua, De Dominicis completed several trial versions in different sizes. Before arriving at a definitive configuration and size, Opera Ubiqua went through various alternative formats. Early on, the silhouette of the goddess Urvasi became an important icon in his work, her profile drawn in black against a background of gold leaf. Subsequently, he created female faces of different formats and with some variations, whose expressions seemed to be inspired by Leonardo da Vinci’s Mona Lisa (...).
In his definitive image, Auronia, De Dominicis distills a harmonious resolution and perhaps also a sublimation of his series of alienated creatures – the ones that he had brought forth at the very moment when Western art, by obscuring and rejecting the image for almost a century, had experienced modernity as a sort of separation and collapse.

Photo certificate:
Fondazione Archivio Gino De Dominicis, Rome, under the archive no. GDD/Operaubiqua/grafitesumason ite/SP-RC/1997–02 (with incomplete technique and wrongly dated 1997)

Provenance:
Studio of the artist
Sergio Pandolfini Collection
European Private Collection

Exhibited:
Sant’Elpidio a Mare (FM), Bianco, Italiano e..., Real Arte, 16–23 April 2016, exh. cat. with ill.

Literature:
I. Tommasoni, Gino De Dominicis, Catalogo ragionato, Skira (ed.), Milan, 2011, p. 484–485, no. 548 with ill.

The work presented here is an important sketch executed, with great refinement and skill, for the Opera Ubiqua series. In his preparatory work for the creation of the multiple Opera Ubiqua, De Dominicis completed several trial versions in different sizes. Before arriving at a definitive configuration and size, Opera Ubiqua went through various alternative formats. Early on, the silhouette of the goddess Urvasi became an important icon in his work, her profile drawn in black against a background of gold leaf. Subsequently, he created female faces of different formats and with some variations, whose expressions seemed to be inspired by Leonardo da Vinci’s Mona Lisa (...).
In his definitive image, Auronia, De Dominicis distills a harmonious resolution and perhaps also a sublimation of his series of alienated creatures – the ones that he had brought forth at the very moment when Western art, by obscuring and rejecting the image for almost a century, had experienced modernity as a sort of separation and collapse.