Bas-reliefs, often commissioned for large, decorative architectural function such as the frieze (84 m2) for the Royal Palace of Baghdad (1958), the bas-relief (97 m2) for the Royal Hilton Hotel in Tehran (1960) or the large-scale high relief for the Central Bank of Kuwait (1961), but also as individual, autonomous works in figurative and abstract language, represent an important part of Carlo Zauli’s production from the second half of the 1950s until the end of his career. This decisive, totemic, square bas-relief with elementary geometry and warm colors still bears traces of both Faenza’s maiolica tradition and Art Informel and, at the same time seems to recall the harmonious forms of nature.
