{"id":43,"count":3,"description":"A (RE)VISION OF THE WORK OF PETER ST\u00c4MPFLI\r\nFrom Objects to Abstraction<\/b><\/i>\r\n\r\nSome of Peter St\u00e4mpfli\u2019s paintings are accustomed to making spectacular entrances wherever they go. Such was the case in 1970 with Polyester Cord, a six-metre-long work that crossed the Venice lagoon by boat to the Biennale Gardens, to the amazement of those who watched it being carried into the building designed by architect Bruno Giacometti for the Swiss Pavilion.\r\n\r\nPolyester Cord or Cavallino, which can boast as much of their width as of their height, are two of the icons of the Fundaci\u00f3 St\u00e4mpfli, accompanied by the rest of the thirty-one works that summarise the evolution of his artistic career.\r\n\r\nRoom A<\/strong>\r\nIn Room A are exhibited works from the 1960s, when St\u00e4mpfli used street images to develop a personal dictionary of \u201cobjects and gestures of everyday life.\u201d\r\n
    \r\n \t
  • Gestures: walking in a raincoat, reading a morning newspaper, or bringing a cup of coffee to one\u2019s lips.<\/li>\r\n \t
  • Objects: vegetables for making broth, a car steering wheel, a tomato, a front wheel with a mudguard.<\/li>\r\n \t
  • Images: large formats, simple and photographic compositions, vivid colours frozen in emptiness, trivial signs taken out of context, oil painting.<\/li>\r\n<\/ul>\r\nBefore leaving the room, a work on the back wall \u2014 Wildcat n\u00ba 2, the one with the wheel and mudguard turning slightly toward us \u2014 warns us that this is not a painting like the others, that from it everything began to change.\r\n\r\nRoom B<\/strong>\r\nAnd what a change! By the time we go down to Room B, we realise we are entering another world. The object and colour have disappeared; only blacks and greys remain in the kingdom of the tyre. Only the tyre and its geometry \u2014 symbol and modern myth of mechanisation.\r\n\r\nA space presided over by Polyester Cord and Cavallino, surrounded by other works of various dimensions and techniques: oils, charcoal and graphite drawings, sculptures, reliefs, and prints. The viewer is invited not to limit themselves to a general view from a distance. It is worth getting closer to see that these two main, large-scale works are the result of the repetition of small, basic geometric forms.\r\n\r\nRealising this allows us to discover other, apparently more modest, works where the outer form of the tyre has disappeared. What remains are simple abstract images composed only of geometric elements similar to an elementary construction directly related to minimalism. From the real world remain only some enigmatic names \u2014 M + S Contact, for example \u2014 which are nothing more than the proper names of the models that inspired them.\r\n\r\nThe disappearance of any sign of figuration is even clearer in another nearby work: 195 VR 14 (1975). It is a large, square work, three metres on each side, also constructed from elementary geometric signs \u2014 almost unicellular units organised into horizontal black bands following the rhythm and logic of repetition.\r\n\r\nRoom C<\/strong>\r\nIn Room C, yet another unexpected change. Peter St\u00e4mpfli\u2019s ongoing research into new, still-unexplored pictorial possibilities leads, from 1990 onwards, to a spectacular rebirth of colour. The rigorous geometry of forms that can only distantly be linked to a derivation of the tyre is flooded with peculiar, flat, vivid colour fields \u2014 reds, oranges, yellows, blacks, blues \u2014 that play with our gaze to inspire our imagination.\r\n\r\nThe reference to the representational world has definitively disappeared, while the works in this room allow us to explore the brilliance of the nuances of oil paint, acrylic paint, watercolour, and pastel.\r\n\r\nSince 1963, we have crossed a bridge that, over nearly forty years, has led us from the banal world of everyday objects to the radicality of abstraction, disproving the supposed incompatibility between formalism and representation.","link":"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/","name":"Permanent","slug":"permanent","taxonomy":"estat","parent":0,"meta":[],"acf":[],"yoast_head":"\nPermanent Archives - Fundaci\u00f3 St\u00e4mpfli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Permanent Archives - Fundaci\u00f3 St\u00e4mpfli\" \/>\n<meta property=\"og:description\" content=\"A (RE)VISION OF THE WORK OF PETER ST\u00c4MPFLI From Objects to Abstraction Some of Peter St\u00e4mpfli\u2019s paintings are accustomed to making spectacular entrances wherever they go. Such was the case in 1970 with Polyester Cord, a six-metre-long work that crossed the Venice lagoon by boat to the Biennale Gardens, to the amazement of those who watched it being carried into the building designed by architect Bruno Giacometti for the Swiss Pavilion. Polyester Cord or Cavallino, which can boast as much of their width as of their height, are two of the icons of the Fundaci\u00f3 St\u00e4mpfli, accompanied by the rest of the thirty-one works that summarise the evolution of his artistic career. Room A In Room A are exhibited works from the 1960s, when St\u00e4mpfli used street images to develop a personal dictionary of \u201cobjects and gestures of everyday life.\u201d Gestures: walking in a raincoat, reading a morning newspaper, or bringing a cup of coffee to one\u2019s lips. Objects: vegetables for making broth, a car steering wheel, a tomato, a front wheel with a mudguard. Images: large formats, simple and photographic compositions, vivid colours frozen in emptiness, trivial signs taken out of context, oil painting. Before leaving the room, a work on the back wall \u2014 Wildcat n\u00ba 2, the one with the wheel and mudguard turning slightly toward us \u2014 warns us that this is not a painting like the others, that from it everything began to change. Room B And what a change! By the time we go down to Room B, we realise we are entering another world. The object and colour have disappeared; only blacks and greys remain in the kingdom of the tyre. Only the tyre and its geometry \u2014 symbol and modern myth of mechanisation. A space presided over by Polyester Cord and Cavallino, surrounded by other works of various dimensions and techniques: oils, charcoal and graphite drawings, sculptures, reliefs, and prints. The viewer is invited not to limit themselves to a general view from a distance. It is worth getting closer to see that these two main, large-scale works are the result of the repetition of small, basic geometric forms. Realising this allows us to discover other, apparently more modest, works where the outer form of the tyre has disappeared. What remains are simple abstract images composed only of geometric elements similar to an elementary construction directly related to minimalism. From the real world remain only some enigmatic names \u2014 M + S Contact, for example \u2014 which are nothing more than the proper names of the models that inspired them. The disappearance of any sign of figuration is even clearer in another nearby work: 195 VR 14 (1975). It is a large, square work, three metres on each side, also constructed from elementary geometric signs \u2014 almost unicellular units organised into horizontal black bands following the rhythm and logic of repetition. Room C In Room C, yet another unexpected change. Peter St\u00e4mpfli\u2019s ongoing research into new, still-unexplored pictorial possibilities leads, from 1990 onwards, to a spectacular rebirth of colour. The rigorous geometry of forms that can only distantly be linked to a derivation of the tyre is flooded with peculiar, flat, vivid colour fields \u2014 reds, oranges, yellows, blacks, blues \u2014 that play with our gaze to inspire our imagination. The reference to the representational world has definitively disappeared, while the works in this room allow us to explore the brilliance of the nuances of oil paint, acrylic paint, watercolour, and pastel. Since 1963, we have crossed a bridge that, over nearly forty years, has led us from the banal world of everyday objects to the radicality of abstraction, disproving the supposed incompatibility between formalism and representation.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/\" \/>\n<meta property=\"og:site_name\" content=\"Fundaci\u00f3 St\u00e4mpfli\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"CollectionPage\",\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/\",\"url\":\"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/\",\"name\":\"Permanent Archives - Fundaci\u00f3 St\u00e4mpfli\",\"isPartOf\":{\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/#website\"},\"breadcrumb\":{\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/#breadcrumb\"},\"inLanguage\":\"en-US\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Inici\",\"item\":\"https:\/\/www.fundacio-stampfli.org\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Permanent\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/#website\",\"url\":\"https:\/\/www.fundacio-stampfli.org\/en\/\",\"name\":\"Fundaci\u00f3 St\u00e4mpfli\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.fundacio-stampfli.org\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/#organization\",\"name\":\"Fundaci\u00f3 St\u00e4mpfli\",\"url\":\"https:\/\/www.fundacio-stampfli.org\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.fundacio-stampfli.org\/wp-content\/uploads\/2025\/07\/logo_fondo.svg\",\"contentUrl\":\"https:\/\/www.fundacio-stampfli.org\/wp-content\/uploads\/2025\/07\/logo_fondo.svg\",\"width\":100,\"height\":100,\"caption\":\"Fundaci\u00f3 St\u00e4mpfli\"},\"image\":{\"@id\":\"https:\/\/www.fundacio-stampfli.org\/en\/#\/schema\/logo\/image\/\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Permanent Archives - Fundaci\u00f3 St\u00e4mpfli","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.fundacio-stampfli.org\/en\/estat\/permanent\/","og_locale":"en_US","og_type":"article","og_title":"Permanent Archives - Fundaci\u00f3 St\u00e4mpfli","og_description":"A (RE)VISION OF THE WORK OF PETER ST\u00c4MPFLI From Objects to Abstraction Some of Peter St\u00e4mpfli\u2019s paintings are accustomed to making spectacular entrances wherever they go. Such was the case in 1970 with Polyester Cord, a six-metre-long work that crossed the Venice lagoon by boat to the Biennale Gardens, to the amazement of those who watched it being carried into the building designed by architect Bruno Giacometti for the Swiss Pavilion. Polyester Cord or Cavallino, which can boast as much of their width as of their height, are two of the icons of the Fundaci\u00f3 St\u00e4mpfli, accompanied by the rest of the thirty-one works that summarise the evolution of his artistic career. Room A In Room A are exhibited works from the 1960s, when St\u00e4mpfli used street images to develop a personal dictionary of \u201cobjects and gestures of everyday life.\u201d Gestures: walking in a raincoat, reading a morning newspaper, or bringing a cup of coffee to one\u2019s lips. Objects: vegetables for making broth, a car steering wheel, a tomato, a front wheel with a mudguard. Images: large formats, simple and photographic compositions, vivid colours frozen in emptiness, trivial signs taken out of context, oil painting. Before leaving the room, a work on the back wall \u2014 Wildcat n\u00ba 2, the one with the wheel and mudguard turning slightly toward us \u2014 warns us that this is not a painting like the others, that from it everything began to change. Room B And what a change! By the time we go down to Room B, we realise we are entering another world. The object and colour have disappeared; only blacks and greys remain in the kingdom of the tyre. Only the tyre and its geometry \u2014 symbol and modern myth of mechanisation. A space presided over by Polyester Cord and Cavallino, surrounded by other works of various dimensions and techniques: oils, charcoal and graphite drawings, sculptures, reliefs, and prints. The viewer is invited not to limit themselves to a general view from a distance. It is worth getting closer to see that these two main, large-scale works are the result of the repetition of small, basic geometric forms. Realising this allows us to discover other, apparently more modest, works where the outer form of the tyre has disappeared. What remains are simple abstract images composed only of geometric elements similar to an elementary construction directly related to minimalism. From the real world remain only some enigmatic names \u2014 M + S Contact, for example \u2014 which are nothing more than the proper names of the models that inspired them. The disappearance of any sign of figuration is even clearer in another nearby work: 195 VR 14 (1975). It is a large, square work, three metres on each side, also constructed from elementary geometric signs \u2014 almost unicellular units organised into horizontal black bands following the rhythm and logic of repetition. Room C In Room C, yet another unexpected change. Peter St\u00e4mpfli\u2019s ongoing research into new, still-unexplored pictorial possibilities leads, from 1990 onwards, to a spectacular rebirth of colour. The rigorous geometry of forms that can only distantly be linked to a derivation of the tyre is flooded with peculiar, flat, vivid colour fields \u2014 reds, oranges, yellows, blacks, blues \u2014 that play with our gaze to inspire our imagination. The reference to the representational world has definitively disappeared, while the works in this room allow us to explore the brilliance of the nuances of oil paint, acrylic paint, watercolour, and pastel. 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