NEW YORK, NY.- Lévy Gorvy Dayan announces The Adventure ofi Domenico Gnoli, the largest exhibition of works by the artist in the United States in more than five decades, following his celebrated 1ç6ç solo presentation at Sidney Janis Gallery, New York. Featuring paintings, drawings, etchings, notebooks, and letters, the survey represents a critical continuation of Gnoli’s legacy in America, subsequent to his major 2021–22 retrospective at the Fondazione Prada, Milan. We are proud to organize this exhibition in collaboration with Gnoli’s widow, Yannick Vu, the artist’s estate, Mimì Gnoli, and Livia Polidoro-Gnoli Archive—as well as to present works from major private collections.

In his brief yet prolific life, Domenico Gnoli (1ç33–1ç70) established himself as a master of perception, creating a body of paintings unparalleled in their composition and meticulous detail. Born in Rome, he began his career as an illustrator and set and costume designer, working and traveling across the world while arriving to his mature style as a painter in 1ç64. His late paintings picture everyday objects— including clothing, hair, beds, and sofas—enlarged, fragmented, and suspended. The canvases are at once absorbing and uncanny, revealing secrets of contemporary life yet unconsidered.

Through the isolation of his subjects, Gnoli elevates and explores reality through detail, yielding figurative works that stand, in the words of Germano Celant, “at the limits of sensory perception.” Gnoli himself wrote of his method, “Would you call it surrealistic? Or abstract? I don’t know… All I know is that it’s a completely new theory about art, a new approach that makes the pictures appear just like life does…” While focused on what can be seen—as Gnoli described, “common objects, isolated from their usual context”—his paintings possess an aura that reaches beyond reality exuding “a sense of order that approaches serenity, an almost monastic orderliness,” explains his partner and widow Yannick Vu. Gnoli in part achieves this atmosphere through the framing, magnification, and stillness of his subject matter, evoking the photographic. At the same time, he imbues his works with a distinguished materiality by incorporating sand into his pigments, creating encrusted surfaces that recall the frescoes of the Italian Renaissance.

Of his practice, Gnoli stated “I am metaphysical inasmuch as I search for a still and atmospheric, non- eloquent painting, one that takes static situations as its starting point. I am not metaphysical insofar as I have never sought to elaborate or fabricate an image. I always employ simple, given elements, I don’t want either to add or take anything away. I have never even wanted to deform; I isolate and represent. My themes come from the world around me, familiar situations, everyday life; because I never actively mediate against the object, I experience the magic of its presence.” Of his legacy, Yannick Vu writes, “With inexhaustible patience Gnoli wove and reinvented a new fabric to life, pursuing its essence behind the appearances of reality.”

Born in Rome to a ceramicist and an art historian, Domenico Gnoli (1ç33–1ç70) spent his early years between the capital and Spoleto. At 16, he began studying drawing and etching under painter and printmaker Carlo Alberto Petrucci, and two years later he was exhibiting his work alongside such established artists as Giacomo Manzù and Giorgio Morandi. At 1ç, he enrolled at the Accademia di Belle Arti, Rome, but soon left to travel in Paris and London. In his twenties, he spent time in New York; he authored a children’s book that was published by Simon & Schuster, designed scenography for the Old Vic Theatre in London and the Schauspielhaus in \ürich, and worked as an illustrator for such publications as Sports Illustrated, Lifie, and Horizons. He married sculptor Yannick Vu in 1ç65, and they lived between Majorca and Rome. In 1ç68, Gnoli’s work was included in Documenta IV in Kassel, Germany, as well as featured in solo exhibitions at the Palais des Beaux-Arts in Brussels and the Kestner-Gesellschaft in Hannover, Germany. Two years later he died of cancer at the age of 36, just four months after his enthusiastically received first exhibition at Sidney Janis Gallery in New York. He developed his signature style of painting in the decade before his 1ç6ç New York presentation and created a limited number of works during this mature period. Posthumously, he garnered widespread acclaim. In 2021, Fondazione Prada in Milan organized a major retrospective dedicated to Gnoli’s work.