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b. 1947, Italy

Giuseppe Penone Biography

'The veins of water that pour from the earth flow in trickles that merge, like the branches in the trunk, like the fingers in the palm of a hand, like the bronze in the matrix of a tree.' —Giuseppe Penone

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Throughout his fifty-year career, Giuseppe Penone has employed a wide range of materials and forms in an exploration of the fundamental language of sculpture. A protagonist of Arte Povera, Penone explores respiration, growth, and ageing—among other involuntary processes—to create an expansive body of work including sculpture, performance, works on paper, and photography.

Penone’s early performance-based works evolved in direct response to the forests near his native village of Garessio, Italy, where he interacted with trees, water, and marble. In the Alpi Marittime (Maritime Alps) works (1968), his gestures and interventions left physical traces over extended periods of time: tree trunks were distorted by copper wire, stones, and bronze casts of the artist’s hand; mechanisms made of ropes and deer hides reacted to the weather; and casts of Penone’s face, hands, and feet were immersed in a stream bed.

In 1969 Penone created the first of his Alberi (Trees): 'stripped' trees made by carving into mature timbers and removing the wood along the outer growth rings to reveal the memory of a sapling at the core of the trunk. This ongoing series has taken on various permutations as Penone refines his techniques and experiments with different sizes and installations. In 1970 he even carved an Albero in the presence of an audience, merging sculpture and performance. This same year he made the Rovesciare i propri occhi (Reversing One’s Eyes) works, in which he wore custom-made mirrored contact lenses and had himself photographed. The lenses, though they deprived the artist of his own gaze, allowed him to objectively record images, literally reflecting his surroundings.

During this period Penone also began to explore different ways of documenting his work, as well as his body’s interactions with sculpture. In the Svolgere la propria pelle (To Unroll One’s Skin) series (1970–1971), he captured the intricate patterns of rock and bark, skin and hair, through frottage (taking rubbings on sheets of paper), imprints (pressing his body into surfaces), and photography. Then, with the Soffi (Breath) works (1977), Penone attempted to translate into sculpture the ephemeral phenomenon of breath. He took photographs of light powder that he had blown into the air and translated the cloud-like forms into bronze sculptures, drawings, and vase-like constructions.

Essere fiume (To be a River, 1981) marked an important turning point in Penone’s practice. Extracting chunks of stone or marble from the source of a river, he carved them so that they resembled the smaller, smoother stones at the bottom of the riverbed, mimicking the effects of water on the rocks’ shape and size. Then, returning to an investigation of the figure, Penone began the Gesti vegetali (Vegital Gestures) works (1982), hollow anthropomorphic sculptures whose forms were based on single gestures or movements.

In the 1990s Penone worked on the Anatomie (Anatomies, 1992), which included Carrara marble and other stones carved in high relief to echo vascular and muscular systems, as well as the Propagazioni (Propagations, 1995), a series of drawings based on the concentric linear patterns of a fingerprint. Since then he has continued to expand upon many of his earlier series and to work on the Idee di pietra (Ideas of Stone) sculptures (2003), in which he juxtaposes rocks and trees to highlight the balance between verticality and horizontality and the interplay of gravity and growth. Penone has also designed two gardens, one in Turin and one in the Reggia di Venaria in Piedmont.

In Penone’s work, sculptural transformations draw the viewer’s attention to details that have long existed but are easily overlooked. By bringing the grandeur—as well as the modesty and intimacy—of raw but also cultural material into various settings, Penone raises questions about sculpture and its essence.

Text courtesy Gagosian.

Giuseppe Penone Featured Artworks

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Nel legno by Giuseppe Penone contemporary artwork painting, works on paper, drawing
Giuseppe Penone Nel legno, 1981 Letterpress ink and pencil on paper
48 x 33 cm
Marian Goodman Gallery Contact Gallery
Foglie by Giuseppe Penone contemporary artwork painting
Giuseppe Penone Foglie, 2014 Typographic ink, pigment and adhesive tape on paper
33 x 48 cm
Marian Goodman Gallery Contact Gallery
Matrice by Giuseppe Penone contemporary artwork painting, works on paper, drawing
Giuseppe Penone Matrice, 2008 Graphite and coffee on paper
46.4 x 32.1 cm
Marian Goodman Gallery Contact Gallery
Spine d'acacia - contatto, marzo 2005 by Giuseppe Penone contemporary artwork painting, sculpture
Giuseppe Penone Spine d'acacia - contatto, marzo 2005, 2005 12 elements; acrylic on canvas, glass microspheres and acacia thorns
300 x 480 cm
Marian Goodman Gallery Contact Gallery
Nel legno by Giuseppe Penone contemporary artwork sculpture
Giuseppe Penone Nel legno, 2008 Larch wood
350 x 43 x 41.5 cm
Marian Goodman Gallery Contact Gallery
Unghiate by Giuseppe Penone contemporary artwork works on paper
Giuseppe Penone Unghiate, 1989 torn cardboard and plaster
140 x 200 cm
Studio Gariboldi Contact Gallery
Leaves of Grass by Giuseppe Penone contemporary artwork painting, mixed media
Giuseppe Penone Leaves of Grass, 2013 Oil on canvas, terracotta, wire
200 x 300 cm
Marian Goodman Gallery Contact Gallery
Guanto by Giuseppe Penone contemporary artwork photography
Giuseppe Penone Guanto, 1972 Colour photograph
34 x 41 cm
Sprüth Magers Enquire

Giuseppe Penone Current & Recent Exhibitions

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Giuseppe Penone Represented By

Gagosian contemporary art gallery in 980 Madison Avenue, New York, USA
Gagosian Athens, Basel, Beverly Hills, Geneva, Gstaad +6
Marian Goodman Gallery contemporary art gallery in New York, USA
Marian Goodman Gallery London, New York, Paris

Giuseppe Penone In Ocula Magazine

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