Giulio Paolini

Giulio Paolini
Sei illustrazioni per gli scritti sull'arte antica di Johann J. Winckelmann, 1977
6052-BK

Published by Mello e Persano, Genova 1977.At the beginning of the book (3 pages) there is a text by Winckelmann "Dell'arte del disegno de' Greci e della Bellezza".Then the six double pages (full pages) with the illustrations. All the illustrations are printed in lithograph and serigraph, but two of these are original (always different) large size (cm 50 x 70) original collages with attached pinted papers and a closed (mistery) envelope. Signed in the colophon in pencil by Paolini.

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Giulio Paolini
Sei illustrazioni per gli scritti sull'arte antica di Johann J. Winckelmann (Six Illustrations for the Writings on Ancient Art by Johann J. Winckelmann), 1977
7763-BK

19 5/8 x 13 3/4 in. (50 x 35 cm)

Published by Mello e Persano, Genova, Turin.
Large Folio bound in brown buckram with 36 pages sewn in. Three pages of text by Winckelmann plus six double page illustrations printed in lithography and silkscreen, two of which are unique collages by the artist. One with ripped papers and the other with a closed mystery envelope. As published with printed white dust jacket and folding box with printed label on front. Signed and numbered 13 of 33. There were also seven copies numbered with Roman numerals.
Based upon the study of the ancient world by the 18th-century historian and writer Johann Joachim Winckelmann called “On Art, Grecian Drawings, and Beauty”, this work by Paolini is divided into six chapters, corresponding with six, two-page illustrations. It is a return to the tradition of bibliophilism, which, through its love of words, considers the book as a precious objet d 'art. Paolini’s reference to Winckelmann reaffirms the neoclassical origins of many of the artist's works. The plates, drawn in a refined contrast between whites, blacks, and ochres, are often embellished with collages.

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Giulio Paolini
Un Quadro, 1971
11631-BK

8 1/2 x 6 1/8 in. (21.5 x 15.5 cm)

Milan: Galleria dell'Ariete, 1971. Folder with loose sheets, unpaginated. The catalogue for the Ariete exhibition becomes, with few textual interventions, an artist’s book. The work on display consisted of appliqué photographs from a work of 1960, Disegno geometrico, to which Paolini added a signature that corresponds to a different, imaginary author, and a title which is different but which bears some relation to the name of the author (e.g. the name Ahmed Barak corresponds to the title Mercato tunisino, which refers to a work by Kandinsky; or Zorah, the name of the Moroccan girl painted by Matisse, is attributed to Kalahari, which is also the name of an African desert). The book, a consequence of all this complexity, takes on the rarefied form of a conceptual work.

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Giulio Paolini
Un Quadro, 1971
3490-BK

8 1/2 x 6 1/8 in. (21.5 x 15.5 cm)

Milano, Galleria dell'Ariete, 1971. Card with loose tables. Published for the exhibition. The catalogue for the Ariete exhibition becomes, with very few textual interventions, an artist’s book. The work on display in the gallery consists of appliqués photographs of a work from 1960, Disegno geometrico, to which Pauline adds a signature which always corresponds to a different, imaginary author, and a title which is always different but which bears some relation to the name of the author (e.g. the name Ahmed Barak correspond to the title Mercato tunisino, which refers to a work by Kandisky, or Zorah, the name of the Moroccan girl painted by Matisse, is attributed to Kalahari is also the name of an African desert). The book, which is the consequence of all this complexity, takes on the rarefied form of a conceptual work.

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Giulio Paolini
Cio che non ha limiti e che per sua stessa natura non Ammette limitazioni di sorta, (What doesn't have limits and what of his own nature does not allow limitation of any kind), 1968
10173-BK

9 3/4 x 7 in. (25 x 18 cm)

The book is derived from a work, "Titolo, 1968", consisting of two large canvases placed side by side like two pages of an open book. Paolini states: “I placed all the letters from written names in my notebook.” As curator and critic Germano Celant observes, a name is just an abstract characterization that coincides with the person. This copy is one of only six copies numbered with Roman numerals, V/VI, where the title is handwritten on the cover of the book. In the regular edition of 50 copies, the title is printed on the mylar dustcover.

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Giulio Paolini
Cio che non ha limiti e che per sua stessa natura non Ammette limitazioni di sorta, What doesn't have limits and what of his own nature does not allow limitation of any kind., 1968
4539-BK

9 13/16 x 7 1/16 in. (25 x 18 cm)

The book is derived of a work, Titolo, which was made in 1968 of 2 large canvases placed side by side like two pages of an open book. "I placed all the letters from written names in my notebook." In the essay about Paolini's book, Celant talks about the concept of the name as a insignificant sign (..) a personal and subjective term, which doesn't have any universal or linguistic characteristics. It's just an abstract characterization that comes together with the person. (Offmedia, in G.Celant, Artmix. Flussi tra arte, architettura, cinema, design, moda, musica e televisione, Feltrinelli, Milano 2008, p.38). Edition of 50 copies, signed and dated. 128pp

Price Upon Request