Giulio Turcato Artwork valuations, appraisals and auction estimates

He studied art in Venice and in 1942 exhibited his first work (a maternity) at the Venice Biennale. He arrived in Rome in 1943, where he began to frequent directors, screenwriters, poets and painters such as Renato Guttuso, Antonio Corpora, Piero Dorazio . Read the full biography

Guide to Giulio Turcato price quotations

Production

Giulio Turcato's artistic production is anchored to the first abstractionist research movements after the Second World War, which found fertile ground in various Italian cities, giving rise to real currents such as the MAC (Movement for Concrete Art) in the area of Como, Classical Abstractionism in Florence and Forma1 in Rome, of which Turcato was a representative together with Carla Accardi, Antonio Sanfilippo, Piero Dorazio, Pietro Consagra, Ugo Attardi, Mino Guerrini and Wladimiro Tulli. He will later also join the Group of Eight.

Its expressive form evolved from the end of the 1940s to the entire second fifty years of the 20th century through research, definition and the further evolution of a sign pattern that defined the typical nature of its iconography. Having abandoned figurative painting, he began his first experiments in informal and political painting. The Comitia, the Mines and the Reticule are the most requested subjects of this period. Shortly thereafter, a moment of great material experimentation ensues. Craters emerge from the foam, which simultaneously supports the work and expresses the gesture, while colored pills subtly invade the monochrome canvas and fake colored scales envelop the works. This is how the Lunar Surfaces, the monochrome Tranquilizers and the Skins are born. The experimentation then moves towards color and the canvases become bright and iridescent through the use of expedient materials such as sand and fluorescent paint. The Archipelagos and the Acropolis were the most widespread subjects of this period until the artist's death.

How to evaluate a work by Giulio Turcato

The necessary condition to be able to approach an evaluation process for a work by Giulio Turcato is to be certain of its authenticity, which can only be ascertained in the presence of confirmation in the form of a written certificate from the Turcato Archive, located in Via Del Pozzetto in Rome.

Other characteristics to consider to determine the specific historical context of the work and its technical structure are the provenance, any publications and bibliography, the technique, the year of execution, the dimensions and last but not least, the state of storage.

Detailing the history of a work always guarantees greater commercial attractiveness, especially in the presence of origins from authoritative collections or official publications. The monograph published by Prearo in 1971, edited by Giorgio De Marchis, is a fundamental tool for research and comparison of works. Furthermore, Turcato, among the many goals achieved, has participated in five Venice biennials and the second edition of Documenta in Kassel.

In the case of multiple works (printed on paper, canvas or sculpted), the print run must be considered more carefully, which indisputably indicates the number of copies produced.

Brackets and coefficient

Once the certainty of authenticity has been determined, historical data from past sales of works that share the same historical, technical and qualitative characteristics with the specimen to be evaluated must be traced. Such data can be extrapolated with an expert eye from the catalogs and price lists of auction houses but also from private and gallery sales that only the experience of the professional appraiser can know.

In light of these considerations we can identify some scales and evaluation parameters that will allow us to briefly identify the value of a work. Clearly only the intervention of an expert evaluator will be able to determine whether or not the operation is valid.

Market

Turcato is perhaps one of the artists who has been most affected by the negative effects of the economic crisis that followed the events of 2008. The trend of his market in the last ten years has however been one of constant growth and recovery. Although pre-crisis values ​​have not yet been completely re-established for minor works, historical works have recorded several top lots, determining a favorable condition for sale

Values

Giulio Turcato Biography

He studied art in Venice and in 1942 exhibited his first work (a maternity) at the Venice Biennale. He arrived in Rome in 1943, where he began to frequent directors, screenwriters, poets and painters such as Renato Guttuso, Antonio Corpora, Piero Dorazio . In Rome, together with Emilio Vedova and Toti Scialoja, he exhibited at the Galleria dello Zodiaco and at the Rome Quadrennial. After the war he decided to settle permanently in Rome, however going to Paris in 1946 where he studied the art of Kandinsky and Picasso. In 1947 He signed the "Forma 1" manifesto, joined the Fronte Nuovo delle Arti group, and participated in the 1948 Biennale in this group. Meanwhile his abstractionism was now finding a unique and original dimension. Turcato's exhibition activity and critical fortune have few equals in Italian art of the 20th century: he was also present at the Biennale in 1954, 1956, 1958 (Personal Room and winner of the National Prize), 1966 (Personal Room), 1968, 1972 (Personal Room), 1982, 1986 , 1988, 1993 and once again in 1995, bringing his participation in the Venetian event to 15.