Tano festa biography of albert

Registro Italiano Alfa Romeo (RIAR)

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History

Registro Italiano Alfa Romeo International Club (RIAR) is a non-profit association founded in Rome in by Francesco Santovetti, a pioneer of historical motor-racing in Italy who also served as the Club’s first President, and Baron Giorgio Franchetti.A passionate collector and great expert not only on cars but above all on art, in particular futurism and avant-gardes. He was the patron of Schifano, Tano Festa, Pino Pascali, Cy Twombly, Franco Angeli, and others. 
He promoted and launched Fontana, Castellani, Manzoni, and Bonalumi (together with the Alfa Romeo Style Center in Arese the latter designed the Alfa Romeo monument funded by the RIAR for the brand's th anniversary). His grandfather was the owner of the Cà d'Oro in Venice.

Acknowledging the merit and brand image potential of the association, in Alfa Romeo relocated RIAR to Milan in its then headquarters of Via Gattamelata, in the Portello district.

With a new office in Arese (Milan, Italy) within Museo Storico Alfa Romeo, today RIAR boasts over  Members around the world, including respected museums showcasing rare discontinued Alfa Romeo models. From vintage cars dating back to the s and 20s to the most recent Formula 1 race cars that saw the light of day in the s, RIAR Members take great pride in the preservation of the originality and excellence of their outstanding vehicles. These are the cars that wrote Alfa’s history and turned it into legend, cars made to stir passion and strong emotions anywhere, anytime.

RIAR is a travelling museum offering every year rallies and events that bring together countless members and Alfa enthusiasts both in Italy and abroad. From the classy luxurious saloon cars of the s to the fiery sports cars of the s that shared the triumphs of unforgettable drivers like Nuvolari and Varzi, from the majesty and speed of the vehicles produced in the s and 50s to t

Painted in , The Separate is a strikingly potent affirmation of Lynette Yiadom-Boakye’s stylistic and technical achievements as a portrait painter. In the present work, the celebrated artist has drawn subject matter from her recollections and memory to masterfully produce a characterful study of a fictional figure that exists outside of time and space. Throughout her oeuvre, Yiadom-Boakye has developed a series of works with a distinct painterly aesthetic, drawing upon a deep and sumptuous colour palette, as exemplified in The Separate. The artist’s mastery of various painterly techniques converges with her nuanced re-examination of the tradition of portraiture, forming a new and progressive visual language.

In The Separate, the sole figure reclines, smiling upon the grassy banks above the blurred coastal seascape. Having worked from life models whilst studying at Central Saint Martins College of Art and Design in London, Yiadom-Boakye went on to reject this traditional form of study. Departing from established techniques associated with portraiture, the artist began relying on her own imagination to formulate her compositions. Presented here is a fictional female figure set within an unknown landscape, a carefully ambiguous cipher of her imagination. The title of the work is equally unclear, proving a lyrical accompaniment to the work; ‘the separate’ is applicable to both figure or setting and with no other clues as to the circumstances, the viewer is left to complete the story in his or her own mind. The actions of the protagonists in Yiadom-Boakye paintings regularly undertake quotidian actions. Whether they are walking to work, having a cup of coffee, going for a swim, relaxing, or taking a moment of reflection, their stances and everyday activities are more leisurely than bold. The momentary scenarios appear unfixed to any definitive associations and present themselves to us in a transitory snapshot.

The genius behind Yiadom-Bo

Unbound. Condition: Near Fine. A collection of 30 pages of original sketches and preliminary drawing by illustrator Don Freeman for the William Saroyan book *My Name is Aram*. About half the images are on loose sheets, with the remainder in an artist notebook that is Inscribed by Freeman on the front cover: "To Bill Saroyan A Raft of Sketches made while working for the Aram book. It has been a real pleasure to do them and an added thrill to have been asked by you to be the illustrator. Always my best to you Don Freeman July 11, " The drawings are a mix of pencil, pen and ink, gouache, pastels, and watercolor on quarto sheets. One drawing, an early version of the dust jacket cover, is on thin card stock with two pasted-on elements. Only one printed item is present; a proof of the art for the final cover (the original is not present), but with several notable differences from the final version. Overall near fine with some light edgewear and toning; half of one page of the notebook has been removed at an earlier time, all others are complete. *My Name is Aram* is a collection of 14 semi-autobiographical short stories by Saroyan concerning native-born Aram Garoghlanian and his Armenian immigrant family in California between and This grouping has renderings of every image from the book, including the cover, spine illustration and 14 interior drawings. There are also a couple of duplicate images, several with slight variations, and a few wholly different from the published versions, such as for the story "The Circus," which in the book shows men putting up a tent, but here includes two of a strongman and one of a barker on the midway. Most striking though, are the three original covers and a printer's proof. The earliest version features a pasted-on drawing of an older, running Aram as its central images composed in ink and watercolor, while the next cover has a younger Aram at the center, and with a number of elements removed for the final dust ja