Back at Cambi’s, before the holiday season, is the great appointment dedicated to Modern and Contemporary Art presented by the maison’s Milan office and scheduled for Tuesday, December 19, starting at 4 p.m.
In this context of the highest quality, among the absolute protagonists and top lots of the appointment stands out the work Visione scenografica/ Composizione Dada, created in 1919-21 c.a by the Italian philosopher, painter, poet, and writer Julius Evola.
Description: Oil on cardboard on both sides; W. 62.3 – H. 75 cm; Signed top left
Provenance: Duchess Simonetta Colonna di Cesarò Collection, Rome; Private Collection, Rome
Visione Scenografica e Composizione Dada is a two-sided 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 the 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 (Julius Evola Foundation, 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” of 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 layering 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.
Catalog 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, repr. nos. 36-37
Palazzo Bagatti Valsecchi, Milan, 1998