43 x 41 cm
Private collection, courtesy Fondazione Marconi, Milan
32 x 26 cm
Lorenzo and Marilena Bonomo Collection
34 x 23.3 cm
Collection of the artist
36 x 19 cm
Collection of the artist
Two parts 40.3 x 53.1 cm each, overall dimensions 40.3 x 108.2 cm
Private collection, Milan
33.5 x 50 cm
Collection of the artist
33.5 x 25.5 cm
Collection of the artist
Two parts 42 x 55 cm each, overall dimensions 42 x 112 cm
Collection of the artist
65 x 47 cm
Private collection, Turin
55.7 x 44 cm
Private collection
Present whereabouts unknown
65 x 50 cm
Private collection, St. Gallen (Switzerland)
Punto a capo, 2016
GPE-0134
Back to the Drawing Board
Etching
Fabriano Rosaspina
Two plates 25 x 35.5 cm each
Signed on the recto of the second plate, bottom right: “Giulio Paolini”
Autograph numbering on the recto of each plate, bottom left
30 in Arabic numerals from 1/30 to 30/30
5 in Roman numerals from I/V to V/V
Galleria Norma Mangione, Turin
Francesco Barocco, Turin
The portfolio stems from the initiative of the Turin artist Francesco Barocco, who introduced Paolini to the etching technique and invited him to produce a graphic portfolio, in collaboration with the Norma Mangione gallery, Turin.
Double-sided three-flap brown card stock folder, blank, closed format 27 x 36.3 cm. Contains a sheet with a text by the artist, the two plates, and a sheet of tracing paper with the colophon.
Includes information regarding the printing technique, date of printing (2016), type of paper, editor (Francesco Barocco), publisher, and edition size.
Note by the artist, Punto a capo, referring to the subject of the prints.
The two plates, individually framed without a passepartout, are arranged with a short interval between them and horizontally.
The two plates are characterized by the motif of the hand intent on drawing, the protagonist of Paolini's first print, which he made in 1967 (GPE-0001). In the second plate the drawing of the right hand overlaps that of the left hand, which is open; a small watch is situated between the thumb and the index finger, so that the tip of the pencil marks the centre of the face, suggesting the interval of time that has passed since 1967.
The title refers to the revival of a motif from the past in a different technique, engraving, which Paolini had never used before. “My first print consisted of a collage with a die-cut outline of my hand, writing or drawing, applied to a sheet of paper. Punto a capo rediscovers that original image today, expressed in the ancient technique of engraving, as if to return – from scratch – to the profile from back then in a technique that apparently belongs to tradition, but that is still turned towards the future".1
1 G. Paolini, Punto a capo, text included with the portfolio that contains the print.
| 2016 | Turin, Norma Mangione, Studio Salvo, Francesco Barocco / Giulio Paolini, 24 September - 29 November; edition 1/30. |
| • | G. Paolini, Punto a capo, note to the work included with the print edition. |
