Who's Afraid of Drawing : Works on Paper from the Ramo Collection. Questo articolo non è disponibile.Who's Afraid of Drawing : Works on Paper from the Ramo Collection

Il volume presenta al pubblico un’ampia selezione di lavori dei più rappresentativi artisti italiani del XX secolo, e di altri ancora da riscoprire, provenienti dalla prestigiosa Collezione Ramo, una delle maggiori raccolte private di opere su carta del XX secolo, iniziata alcuni anni fa dall’imprenditore milanese Pino Rabolini. Con circa 600 opere, a partire dal primo ‘900, la collezione segue le tracce dei maggiori protagonisti delle avanguardie storiche fino ai primi anni Novanta. Lo scopo della collezione è testimoniare la grande importanza dell’arte italiana del secolo scorso promuovendo una cultura del disegno dal valore autonomo, al pari di pittura e scultura.

This book is the outcome of a project of acquisitions conducted over a period of many years which has led to the creation of Pino Rabolini's Collezione Ramo, comprising some 600 drawings by Italian artists spanning a period stretching from the early years of the twentieth century to the 1990s, before art became contemporary. On this occasion approximately one hundred works are presented, illustrating the quality and importance of this artistic medium, and placing Italian production at the cutting edge on the international stage.

One hundred works on paper from the Ramo Collection illustrate the quality and importance of drawing in twentieth-century Italian art
Published to accompany an exhibition at the Estorick Collection, London, from April 17th - June 23rd, 2019

Drawing - as paper-based work, in whatever technique - is the load-bearing skeleton for much experimentation, a preferred artistic medium for painters and sculptors and, often, the first visualisation of an idea. Drawing acquires its vital force from daily artistic practice; it is not cancelled or corrected because it captures the first formalisation of a creative thought that may not be intended to be shared with the public: its first (and sometimes only spectator is the artist himself.