(Florence 1940–1971 Rome)
Zone riflesse, 1964, signed, titled, dated Paolo Scheggi, Zone Riflesse, rosso, 64, red acrylic on three superimposed canvases, 60 x 70 x 5.5 cm, framed

The work has been registered by the Associazione Paolo Scheggi, Milan and will be included in the forthcoming publication of the Catalogue Raisonné of Paolo Scheggi Work, curated by Luca Massimo Barbero

Provenance:
Galleria Paolo Majorana, Brescia
Private Collection, Europe

Born in Florence in 1940, and after a period of study in Rome and London, Paul Scheggi moved to Milan in 1961, making Milan the centre of his artistic experimentation. There, at the epicentre of the most avant-garde creative research, Scheggi encountered the artists of the age – especially the Milanese objectivists – and aroused the interest of Lucio Fontana, who followed his research carefully from 1962. His work was influenced by the Italo-Argentine spatialist, who was a point of reference for an entire generation: his way of approaching surfaces, embracing space with his lacerations, going beyond the boundaries of painting and sculpture, and aiming at the nullification of a history of art based on illusion and fiction, would all prompt Scheggi to pursue the objectivity of the work, its expansion in space and time, and to take the road of visual ambiguity and monochromaticism, all salient characteristics of Scheggi’s work.
In his Intersuperfici, monochrome works characterised by three superimposed canvases that accommodate openings of various shapes, Scheggi leads the observer to get lost in the sequence of holes, which, forming layers, multiply to swallow one’s regard in a space-time dimension that unites and merges object, subject and environment.
(Agostino Bonalumi in Bonalumi – Scheggi. Una mostra. Galleria Vinciana, Milano 15 March – 12 May 2011)

Paolo and I set off for Dusseldorf, instead of Frankfurt, Cologne, Amsterdam or Antwerp. And the unexpected encounters we enjoyed during those visits to museums and galleries, and studios of artist friends, were indeed pleasing interludes: it might have been Gianni Colombo, or perhaps Alviani, or Marcello Morandini, or [...]. We were friends, to the extent of passing information that could be of interest to one or the other; exchanging job opportunities, among fellow adventurers in that „movement“ that would take the name of Nuove Tendenze. ... and there were also some heated discussions. Agostino Bonalumi, Mailand, Dezember 2010)

Light and Shade
Article on Paolo Scheggi from the myART MAGAZINE

Pittura Oggetto
video and article on the Milanese art scene of the 1960s from the myART MAGAZINE