Marco Almaviva Artwork valuations, appraisals and auction estimates

Marco Almaviva is an Italian artist born in Novi Ligure in 1934, his artistic work essentially consists of the original contribution of new forms of pictorial expression; the Tonaltimbrica and the Philoplastic, founded on a critical reflection which has involved, in the course of an activity now lasting more than forty years, central issues in the contemporary debate on art, such as the existing relationships between artistic work and its claims of legitimation and the very function of art in the broader context of human activities. The constitutive assumptions of Almaviva's research are in fact characterized by a fundamental radicality which has expressed itself, since the beginning, in the need to subject the assumptions of contemporary poetics and dominant customs in the artistic field to a rigorous critical scrutiny, to the point of involving every conception that proposed itself as a general vision of reality. Read the full biography

Marco Almaviva is an Italian artist born in Novi Ligure in 1934, his artistic work essentially consists of the original contribution of new forms of pictorial expression; the Tonaltimbrica and the Philoplastic, founded on a critical reflection which has involved, in the course of an activity now lasting more than forty years, central issues in the contemporary debate on art, such as the existing relationships between artistic work and its claims of legitimation and the very function of art in the broader context of human activities. The constitutive assumptions of Almaviva's research are in fact characterized by a fundamental radicality which has expressed itself, since the beginning, in the need to subject the assumptions of contemporary poetics and dominant customs in the artistic field to a rigorous critical scrutiny, to the point of involving every conception that proposed itself as a general vision of reality. The first consequence of this approach in terms of operational choices was for Almaviva to dutifully distance itself from the "dominant system" of legitimation and promotion of contemporary art to obtain an artistic result generated by its own vision of the world and concretized through a new formal structure. The radical nature of Almaviva's position is condensed into a complex of considerations against which any attempt to address the discussion on art in usual terms proves inadequate. At the basis of every artistic project, as of every investigation into the very meaning of existence, for Almaviva, there remains an observation which in its persistence refers to an irresolvable nucleus of violence that permeates every area of ​​the natural sphere, in which our own existence It is this option that prevents Almaviva from inserting his expressiveness into the field of various currents of abstract-cubist, informal or spatialist imprint, or into the context of the neo-avant-garde or the first Pop manifestations. It is therefore the entire scope of his acquisitions, which is reconsidered by Almaviva that painting takes on the priority function of the testimony of a condition of existence whose meaning does not seem to be able to be clarified satisfactorily by positive knowledge.