tag:blogger.com,1999:blog-294754342024-03-05T19:15:38.050+01:00Artlover in AntibesAn art lover, who lives in the South of France, wants to share with the world ideas that will compliment the art we love. Let's exchange some comments to make our art world a more interesting place.<br/>L’amateur d'art, qui vit sur la Côte d'Azur et qui veut partager son univers de l’art peut échanger avec nous pour donner au monde artistique une place plus intéressante. <br/>Français/English<br/><center><a href="http://autour-de-lart.com/">Visit Autour-de-lart</a></center>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.comBlogger480125tag:blogger.com,1999:blog-29475434.post-20968971318634960292011-05-19T15:32:00.002+02:002011-05-19T15:36:16.748+02:00Modigiliani Portrait<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; color: rgb(255, 0, 0); font-weight: bold; font-style: italic;" align="center"><td colspan="2" class="titulo"><span style="font-size:130%;">Modigiliani Portrait to Feature in Bonhams Impressionist<br /> & Modern Art Auction<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93"><span style="color: rgb(153, 51, 153);">artlover000008888888778</span></a><br /></span></td></tr> <tr><td colspan="2" valign="top" bgcolor="#FEB700" height="1"><br /></td></tr> <tr><td colspan="2" height="10"><br /></td></tr> <tr><td colspan="2" width="956"> <img src="http://www.artdaily.com/imagenes/2011/05/19/Modigliani-2.jpg" /><br /><br /><span align="top" class="pie_g">Amedeo Modigliani. Portrait de femme. Estimate: £1.5-2.5 million. Photo: Bonhams.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="791"> <b>LONDON.-</b> <a href="http://www.bonhams.com/" target="_blank">Bonhams</a> Impressionist & Modern Art auction on Tuesday 21st June will include an exciting selection of works by artists including Boudin, Modigliani, Chagall, Picasso, Renoir and Miro. <br /><br />The current highlight of the sale is Portrait de Femme by the Italian artist Amedeo Modigliani which was painted circa 1917-1918. Modigliani is renowned for his portraits of women, and this is a fine example which comes to the market from the Grace Vogel Aldworth Trust. It is estimated to fetch £1.5-2.5 million.<br /><br />Nu, Etude pour ‘Les Demoiselles d’Avignon’ (1907) by Pablo Picasso is also expected to generate a lot of interest. The watercolour and gouache study is one of a number of works that Picasso created in preparation for his finished masterpiece, and is recognisable as the figure on the lower right of the final composition. The study manages to communicate the sense of violent energy that Picasso's final picture stands for, and reflects the influence of African tribal art on his work. It is estimated to fetch £300,000-500,000. Other Picasso works in the sale include Tête de matador (£150,000-200,000), Femme nue assise (£165,000-175,000) and Personnages (£20,000-30,000).<br /><br />A further highlight of the sale is L'Écuyère bleu au coq rouge by Marc Chagall. This watercolour and bodycolour work on paper displays the dream like and playful qualities prevalent in the artist’s work and is expected to sell for £60,000-80,000.<br /><br />With their bright colours and sunny scenes, Carlos Nadal’s (1917-1998) works often prove popular at auction. He has been described as ‘the last wild expressionist of Spain’ and the influence of the Fauvist painters is evident in his paintings. Fenetre Ouverte has attracted a pre-sale estimate of £20,000-30,000.<br /><br />Another Spanish artist Oscar Dominguez (1906-1958), was influenced by Salvador Dali in his early works, but he later developed his own Surrealist style and experimented with automatism and decalcomania. Paisaje Cósmico or Cosmic Landscape, fuses the disparate elements of Dominguez’s personality and the concerns of the wider Surrealist group into one dreamscape. The realistic draughtsmanship of flowing lava pays heed to the volcanic eruptions and landslides that were part of the landscape of Dominguez’s homeland in the Canary Islands, yet the composition itself is rich in the spirit of Surrealist automatism. The painting was initially owned by Eduardo Westerdahl, the main patron of the small Surrealist movement in the Canary Islands, and it is estimated to fetch £100,000-150,000. <br /><br />Deborah Allan, of Bonhams Impressionist and Modern Art Department comments, “We are delighted to be offering a selection of important Impressionist and Modern art works for sale in our forthcoming 21st June sale, and expect there to be a lot of interest from around the globe.”</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-84448295875397550622011-05-18T10:53:00.000+02:002011-05-18T10:54:05.210+02:00A French Kitten in Summer 2011 on the Cote d'Azur<table cellspacing="0" cellpadding="0" border="0" bgcolor="#ffffff"><tr><td><a href="http://smilebox.com/play/4d6a51334f5449334e6a4d3d0d0a&blogview=true&campaign=blog_playback_link" target="_blank"><img width="386" height="303" alt="Click to play this Smilebox slideshow" src="http://smilebox.com/snap/4d6a51334f5449334e6a4d3d0d0a.jpg" style="border: medium none ;"/></a></td></tr><tr><td><a href="http://www.smilebox.com/?partner=google&campaign=blog_snapshot" target="_blank"><img width="386" height="46" alt="Create your own slideshow - Powered by Smilebox" src="http://www.smilebox.com/globalImages/blogInstructions/blogLogoSmileboxSmall.gif" style="border: medium none ;"/></a></td></tr><tr><td align="center"><a href="http://www.smilebox.com/slideshows.html" target="_blank">Free digital slideshow</a> generated with Smilebox</td></tr></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-63298139412014451512011-01-13T15:06:00.000+01:002011-01-13T15:06:21.164+01:00Sherrardswood_The Best Of DAYS_1965 to 1968_Pt_2<iframe src="http://www.youtube.com/embed/lYDOYwFNrwk?fs=1" width="425" frameborder="0" height="344"></iframe><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-38083527445181929382010-12-10T11:07:00.001+01:002010-12-10T11:09:27.686+01:00Exhibition of Works by Painter Amedeo Modigliani Opens at the Municipal House in Prague<table border="0" cellpadding="0" cellspacing="0" width="956"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td colspan="2" class="titulo"><span style="font-size:130%;">Exhibition of Works by Painter Amedeo Modigliani Opens at the Municipal House in Prague<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover6644558888888</a><br /></span></td></tr> <tr><td colspan="2" bgcolor="#feb700" valign="top" height="1"><br /></td></tr> <tr><td colspan="2" height="10"><br /></td></tr> <tr><td colspan="2" width="956"> <img src="http://www.artdaily.com/imagenes/2010/12/10/Modigliani-2.jpg" /><br /><br /><span align="top" class="pie_g">A visitor walks past a painting of Italian painter and sculptor Amedeo Modigliani as he visits the Modigliani exhibition in Prague, Czech Republic, 09 December 2010. Unique exhibition of the works of the world-renowned early 20th-century Italian painter and sculptor Amedeo Modigliani is open from 09 December 2010 to 28 February 2011 at the elegant venue of the Municipal House in Prague. EPA/FILIP SINGER.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="791"> <b>PRAGUE.-</b> <a href="http://www.obecnidum.cz/" target="_blank">The Municipal House</a> opens a unique exhibition of the works of the world-renowned early 20th-century Italian painter and sculptor Amedeo Modigliani (1884–1920), which will run from December 9 to February 28, 2011 at the elegant venue of the Municipal House in Prague. The organisers chose the artist’s own magically sounding name as the exhibition’s title. The exhibition aims to acquaint the public not just with Modigliani’s work, but also with the man himself and his life. <br /> <br />To complement the works of Amedeo Modigliani the exhibition will also show paintings by Modigliani’s friends and peers, such as Pablo Picasso, Max Jacob, and Gino Romiti, and the last curatorial section of the exhibition will be a parallel display of the work of Amedeo Modigliani and the Czech artist František Kupka (1871-1957), whose paintings will be part of the Amedeo Modigliani exhibition.<br /><br />The curator of the exhibition is Ms Serena Baccaglini, whose name has already been behind numerous important projects. She organised eight exhibitions about Picasso, the special collection Bosè/Dominguin, and an exhibition about Salvador Dalì. The AMEDEO MODIGLIANI exhibition will contain works on loan from public and private collections around the world, for instance, from the Israeli Museum in Jerusalem, the Estorick Collection in London, and from private collections in Germany, France and America. Thanks to cooperation with the Modigliani Institut Archives Légales in Rome original documents will be shown that illustrate the life of Amedeo Modigliani in the early 20th century during the wonderful years of the birth of contemporary art. <br /><br />The exhibition presents Modigliani as an Italian artist, but it does not overlook that fact that in the early 20th century he was also an important figure of the ‘Paris school’. The exhibition will be showing Modigliani’s paintings, but also many of his studies and drawings, and thus it constitutes an important contribution to our understanding of Modigliani’s works as a whole. As will all geniuses, especially in the field of drawing, they reveal to us the beauty of his style and allow us to witness the first signs of the origin of an idea.<br /><br />The exhibition will also present works by the famous Czech artist František Kupka. Serena Baccaglini came up with the new idea of showing side by side the works of these two artists, who exhibited together in 1912 as part of the Autumn Salon in Paris. Modigliani and Kupka were two great innovators in art, with similar life paths and bringing them together again, it is a new, magical, and exciting occasion. At the exhibition in 1912 Modigliani showed his sculptures, while Kupka presented his paintings Amorpha, Fugue in Two Colours and Warm Chromatics which can be regarded as the first real abstract works in history. Modigliani and Kupka are thus meeting up again for the first time in Prague, more than a century later.<br /><br />The exhibition will also show some paintings by friends of Modigliani, with whom the artist lived through the inspirational period of the artistic avant-garde in Paris in the years before the First World War. Thus, we will be looking into the background of the time when modern art was born.<br /><br />Thematically the exhibition will focus also on the artistic relationship between Modigliani and Jeanne and on questions that have left the figure of Modigliani shrouded in mystery. Jeanne Hébuterne, the love of the artist’s life, was the model for his best work. Those who love Modigliani will certainly recall his nudes and portraits with the typically elongated faces, almond eyes, long, sharp noses, and melancholy expressions. Unfortunately, a few days before Modigliani and Jeanne were to marry the artist died of tuberculosis at the age of just 36. Jeanne Hébuterne followed him soon after, as, unable to bear the loss of her great love, she jumped from the window of her parents’ home.<br /><br />It is almost extraordinary that an exhibition of the work of this major artist has never taken place in the Czech Republic. Similar exhibitions, for instance, have been held recently in Milan, Madrid, and Bonn. Not long ago the National Gallery had two of the artist’s works on loan. The first major exhibition of Modigliani’s more important work to take place in Prague is thus only happening now.<br /><br />The exhibition’s organiser, the director of Vernon Gallery, Monika Burian Jourdan, says of the exhibition’s significance: ‘I am only coming to realise the importance of the exhibition and its impact in a historical perspective just now, in the course of its preparation. For me Modigliani signifies elegance, mystery, success, and human tragedy. Amedeo Modigliani’s works possess an Italian charm that in a certain sense we can also feel from Prague architecture...’<br /><br />The curator’s gusto and enthusiasm for the life and work of Amedeo Modigliani is enormous, and her energy and professional experience and ability promise art lovers a great exhibition experience.<br /><br />On the exhibition Ms Baccaglini adds: ‘A great passion for Modigliani and Prague was a tremendous incentive to me to obtain special works that would allow us to encounter the great artist as a genius and as a man."</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-30507484157556607632010-11-20T11:33:00.001+01:002010-11-20T11:36:51.592+01:00Colombian Fernando Botero's Matadors, Chile's Matta Top Latin American Auction at Christie's<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td colspan="2" class="titulo"><span style="font-size:180%;">Colombian Fernando Botero's Matadors, Chile's Matta Top Latin American Auction at Christie's<br /><br /><span style="color: rgb(51, 255, 51);"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover66554888888</a><br /></span></span><img src="file:///C:/DOCUME%7E1/TIMAUW%7E1/LOCALS%7E1/Temp/moz-screenshot-1.png" alt="" /><a href="http://www.artdaily.com/index.asp?int_sec=2&int_new=42684"><img src="http://www.artdaily.com/imagenes/2010/11/20/Botero-1.jpg" class="borde" width="295" /></a><br /><br /><span class="pie">"Family Scene," by Colombian artist Fernando Botero</span><br /><img src="file:///C:/DOCUME%7E1/TIMAUW%7E1/LOCALS%7E1/Temp/moz-screenshot.png" alt="" /><br /></td></tr> <tr><td colspan="2" valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td colspan="2" height="10"><br /></td></tr> <tr><td colspan="2" width="956"> <img src="http://www.artdaily.com/imagenes/2010/11/20/Botero-2.jpg" /><br /><br /><span align="top" class="pie_g">Colombian artist Fernando Botero's 2002 bronze sculpture, "Seated Woman," is pictured in outside Christie's in this undated handout photograph released on November 18, 2010. The piece drew $842,500 at Christie's Latin American art auction in New York on Wednesday evening. REUTERS/Christies Limited.<br /><br />By: Walker Simon</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="791"> <b>NEW YORK (REUTERS).-</b> A portrait of an infant matador and his bullfighting elders, painted by Colombian Fernando Botero, topped <a href="http://www.christies.com/" target="_blank">Christie's</a> Latin American art sale, which also set auction records for postwar Brazilian, Colombian, Mexican and Argentine artists.<br /><br />Botero's 1985 "Family Scene" of bullfighters fetched $1.7 million, the top lot of an $18.65 million sale on Wednesday evening, which also underscored strong demand for Chile's Matta, whose work bridges abstraction and surrealism.<br /><br />Voluminous Boteros sold well. The corpulent bullfighters in "Family Scene" feature matadors in their finery, including a crawling toddler wearing a red tie and white stockings.<br /><br />Botero's bronze "Seated Woman" sculpture sold for $842,500.<br /><br />Matta's 1956 "S'Enroseer" and his 1942 "Untitled" also ranked as top lots, respectively at $866,500 and $842,500.<br /><br />Matta taught budding U.S. abstract artists in New York, such as Robert Motherwell and Jackson Pollock.<br /><br />Typical of his surrealist, abstract blend is the 1942 "Untitled," inspired by sprouting Mexican volcano Paracutin. It mixes dropped pigment with strokes of liquid color, centered on a fury of fiery reds, pea-like greens and sunbeam yellows.<br /><br />Brazilian Adriana Varejao's "Paisagem Canibal" (Cannibal Landscape) set an auction record at $602,500.<br /><br />Argentine Julio Le Parc's flickering early 1960s "Seuil de Perception, Continuel-lumiere-Mobile" set a record at $506,500. It consists of wood, metal, nylon strings and light bulbs.<br /><br />Brazilian Helio Oiticica's "Mataesquema (Dois Brancos) fetched $362,500.<br /><br />Colombian Alpio Jaramillo's blend of Cubism and social realism, "9 de abril," paints the fury and slaughter of the 1948 urban riots which convulsed Bogota after the assassination of a progressive presidential candidate.<br /><br />The painting's sale for $110,500 marked the first time Jaramillo's work was brought to international auction.<br /><br />Mexican Julio Galan's oil, ribbon and found objects on canvas, his 1992 "Mis Amigos Secretos" (My Secret Friends), set a record at $98,500. </td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-82476305458678587652010-11-03T11:36:00.000+01:002010-11-03T11:37:47.855+01:00<table border="0" cellpadding="0" cellspacing="0" width="956"><tbody><tr style="font-family: verdana; font-weight: bold; color: rgb(255, 0, 0);" align="center"><td colspan="2" class="titulo"><span style="font-size:130%;">A New Auction Record for Amedeo Modigliani at Sotheby's Evening Sale in New York<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93"><span style="font-style: italic;">artlover888888808</span></a><br /></span></td></tr> <tr><td colspan="2" bgcolor="#feb700" valign="top" height="1"><br /></td></tr> <tr><td colspan="2" height="10"><br /></td></tr> <tr><td colspan="2" width="956"> <img src="http://www.artdaily.com/imagenes/2010/11/03/Modigliani-1.jpg" /><br /><br /><span align="top" class="pie_g">A Sotheby's employee discusses the merits of the painting "La Belle Romaine" by Amedeo Modigliani during a preview of Sotheby's Impressionist & Modern Art auction in New York. REUTERS/Lucas Jackson.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="791"> <b>NEW YORK, NY.-</b> <a href="http://www.sothebys.com/" target="_blank">Sotheby's</a> Evening Sale of Impressionist and Modern Art is currently underway in New York and a number of exceptional prices have already been achieved:<br /><br />· A new auction record for Amedeo Modigliani was set tonight when the artist’s iconic Nu assis sur un divan (La Belle Romaine) sold for a remarkable $68,962,500. Five different bidders competed for the stunning nude, driving the price well past the more than $40 million* that had been expected. La Belle Romaine is from Modigliani’s most important series of nudes, all painted circa 1917. <br /><br />Other highlights thus far included two works sold tonight to benefit YoungArts, the core program of the National Foundation for Advancement in the Arts (NFAA): Le Bassin aux Nymphéas, a spectacular canvas from Claude Monet’s iconic water lilies series which sold for $24,722,500 and Amedeo Modigliani’s Jeanne Hébuterne (au chapeau), one of the artist’s first major portraits of the muse that dominated his art in the final years of his life which brought $19,122,500. <br /><br />Founded in 1981, YoungArts is the only national program that recognizes artistic excellence in 17- and 18-year olds by providing them with life-changing experiences that inspire their pursuit of the arts. YoungArts provides more than $500,000 in grants annually to support artistic endeavors and studies for these aspiring artists, and ensures that they will be exposed to mentors and tools that will lead them on a pathway to a serious career in the arts or prepare them for schools like Harvard, Juilliard, Carnegie Mellon or many others.<br /> </td> <td class="textomediano" valign="top" width="165"> <table class="cajas" bg border="0" cellpadding="0" cellspacing="0" style="color:#fff6e0;"> <tbody><tr> <td><span style="font-family:Arial;font-size:85%;color:#cc3300;"><strong>Amedeo Modigliani</strong></span></td> </tr> <tr> <td align="left" valign="top"><div align="center"> <table class="cajas" bgcolor="#000000" border="0" cellpadding="0" cellspacing="0" width="161"> <tbody><tr> <td><div align="center"><a href="http://gan.doubleclick.net/gan_click?lid=41000000033380984&pubid=21000000000228510"><img src="http://www.artdaily.com/e-commerce/15328120.JPG" class="borde1" width="128" height="186" /></a></div></td> </tr> </tbody></table> </div></td> </tr> <tr> <td><br /> <a href="http://gan.doubleclick.net/gan_click?lid=41000000033380984&pubid=21000000000228510"><img src="http://www.artdaily.com/e-commerce/boton_1.jpg" class="borde1" width="74" height="16" /></a> </td> </tr> </tbody></table> <br /> </td> </tr> </tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-36058579841413436692010-08-27T12:02:00.000+02:002010-08-27T12:04:14.712+02:00Frank Gehry Presents Luma: Parc des Ateliers Project at Venice Architecture Biennale<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-weight: bold; color: rgb(255, 0, 0); font-style: italic;"><td class="titulo"><div style="text-align: center;"><span style="font-size:130%;"><span style="font-family: verdana;">Frank Gehry Presents Luma: Parc des Ateliers Project at Venice Architecture Biennale<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover888776688888</a><br /></span></span></div> </td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/08/27/Frank-1-y-2.jpg" /><br /><br /><span align="top" class="pie_g">US-Canadian architect Frank Gehry presents Luma, Parc des Ateliers project for Arles, France, at a preview of Venice Architecture Biennale in Venice, Italy, 25 August 2010. EPA/ANDREA MEROLA .</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>VENICE.-</b> The Parc des Ateliers in Arles is a model and a master plan for a new type of cultural utopia. Imagined, invented and designed as the ultimate cultural destination by artists, architects, art professionals and intellectuals, in accordance with local inhabitants who have an intimate knowledge of the town of Arles, it is an open campus for creative production, display, study and preservation. Photography and the moving image are its central force and innovative research and exchange are its ongoing mission. Aligned with the aims of the LUMA Foundation, its founding body, the Parc des Ateliers unites culture, education and the environment, and encourages a fruitful dialogue between disciplines and visions rich in contrast as vital elements of a forward-looking society. Located in the heart of the city of Arles and surrounded by the unique environment of the Camargue, it acts as a bridge between the industrial heritage and the UNESCO-protected historical core of this multifaceted city. It also recreates the public park that was once the meeting place of every layer of its population, and thus becomes a project for and with the people of Arles. The master plan was created in 2008; the estimated completion of the project is 2011.<br /><br />The Regional Council of Provence-Alpes-Côte d’Azur (PACA) and the city of Arles initiated a study for the economic and urban development of the area of the former SNCF railway garage, located in the very center of Arles. The final decision was to establish a cultural landmark. The LUMA Foundation – a non-profit, Swiss-based foundation, created in 2004 by art collector and philanthropist Maja Hoffmann, specializing in projects combining the environment, education, and culture – took the cultural vocation given to the site by the City and the Region one bold step further.<br /><br />Joining this creative initiative are Actes Sud publishers and Les Rencontres d’Arles and with the initial observations of the ABF (Architecte des Bâtiments de France) and input from the ENSP (École Nationale Supérieure de la Photographie), together they have contributed to the design of a visionary master plan for the area. The new regeneration project combines a vast cultural campus which offers exhibition and archive space, with an office and service building for Les Rencontres d’Arles, the publishing house Actes Sud, the school of photography ENSP, a cinema, commercial and residential areas and a hotel complex, and with the hope of adding over time a new train station, and a memorial museum for the railway workers. The building project will be set in a landscaped public garden.<br /><br />The LUMA Foundation recruited Los Angeles-based visionary architect Frank Gehry, and Gehry Partners, LLP to create a landmark building to house the Foundation, and to create the master plan of the site. French real-estate giants Nexity are providing their expertise in terms of the commercial development and how it relates to the site planning.<br /><br />A snapshot of this work-in-process can be seenat the Venice Biennale of Architecture and at the festival des Rencontres d’Arles with an exhibition of Frank Gehry and Gehry Partners, LLP’s models of the Parc des Ateliers</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-40966359886498107082010-08-02T11:00:00.001+02:002010-08-02T11:02:31.140+02:00Stunning Nudes by Photographer Rankin at Annroy Gallery, London<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;">Stunning Nudes by Photographer Rankin at Annroy Gallery, London<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover554498888888</a><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/08/02/Stunning-2.jpg" /><br /><br /><span align="top" class="pie_g">Lily Cole © Rankin Photography.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>LONDON.-</b> Rankin blurs the boundaries of fashion, photography and fine art in Painting Pretty Pictures, a collection of painterly studies of feminine beauty. Using digital retouching as a tool for artistic effect, stunning nudes of some of the world’s top models, including Yasmin Le Bon, Heidi Klum and Lily Cole, are transformed into apparent oil paintings.<br /><br />Always keen to explore the limits of his chosen medium, Rankin reframes the debate surrounding the use of digital image manipulation, creating a new hyperreal aesthetic that merges fantasy and reality. With Gerhard Richter amongst his inspirations, Rankin departs from his trademark style, creating images which seem almost classical through the use of the latest imaging technologies.<br /><br />Painting Pretty Pictures will run from 30th July – 29th August at <a href="http://www.rankin.co.uk/" target="_blank">Annroy Gallery</a>, Rankin’s own Kentish Town gallery space.<br /><br />Synonymous with dynamic and intimate portraiture, the photographer Rankin has shot everyone from royalty to refugees. His powerful images are part of contemporary iconography, and mix a cross section of his own personal interests with commercial campaigns, from Nike to Women’s Aid. His work is regularly exhibited in galleries around the world from Sao Paolo to Moscow, London to LA.<br /><br />Rankin first came to prominence when he co-founded style bible Dazed & Confused with Jefferson Hack. One of the most important magazines of the 90’s, it established its stylists in the fashion elite, broke some of today’s top designers and nurtured the budding careers of a generation of creative photographers.<br /><br />Earning a reputation for creative portraiture and a talent for capturing the character and spirit of his subjects, Rankin quickly became a formidable force in photography, shooting Brit-pop bands including Pulp and Blur and darlings of pop such as Kylie and Madonna. Rankin’s career continued to blossom and covers for German Vogue, Harpers Bazaar, Arena and GQ quickly followed.<br /><br />His body of work includes some of the most influential politicians, popular musicians, revered artists and celebrated models since the early 90’s. However, Rankin also continues to take on projects that feature ordinary people, often questioning established notions of beauty, causing controversy and igniting debates along the way. Most recently he travelled to Johannesburg with the BBC to film South Africa in Pictures, a documentary in which he traced the country’s photographic history.<br /><br />Rankin is affiliated with a number of charities and has created hardhitting campaigns for Women’s Aid and Oxfam to name but a few.<br /><br />A number of books of Rankin’s work have been published, including a retrospective of his work Visually Hungry, a collection of his most recognisable portraits Celebritation, a book of Rankin’s images of his model wife Tuuli Tuulitastic, Alex Box, a collaboration with the avantgarde make-up artist and a book to accompany the BBC documentary, RANKINJOZI.<br /><br />Between 2004 and April 2010, Rankin has co-directed music videos, commercials and feature films with Chris Cottam. This included their debut film The Lives of Saints, penned by Fear and Loathing in Las Vegas writer Tony Grisoni, which enjoyed success on the festival circuit and won the grand jury prize at the Salento International Film Festival. Rankin now continues to film commercial and personal projects independently.<br /><br />Rankin lives in London with his wife Tuuli and his son Lyle. </td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-20779751110830586922010-07-28T10:10:00.001+02:002010-07-28T10:14:49.075+02:00IVAM Opens First Exhibition in Europe by Chinese Artist Wang Xieda<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-weight: bold; font-style: italic; color: rgb(0, 153, 0);"><td class="titulo"><div style="text-align: center;"><span style="font-size:130%;"><span style="font-family: verdana;">IVAM Opens First Exhibition in Europe by Chinese Artist Wang Xieda<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover88788866888888</a><br /></span></span></div> </td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/07/28/IVAM-2.jpg" /><br /><br /><span align="top" class="pie_g">Chinese artist Wang Xieda poses between his sculptures 'Sages's Saying 013' (L) and 'Sages's Saying 058' (R) at an exhibition on his work organized by the Valencian Institute of Modern Art (IVAM) in Valencia, Spain, 27 July 2010. The exhibition, that was inaugurated today and can be seen until 29 August, shows 12 sculptures and 14 drawings of the Chinese artist for the first time in Europe. EPA/MANUEL BRUQUE.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>VALENCIA.-</b> The exhibition presents for the first time in a European museum this artist's work brings together 12 sculptures and 14 drawings Xieda Wang's calligraphy, Chinese artist who combines in his works the influence of calligraphy in the Eastern tradition and contemporary currents of Western art . <br /> <br />This is the first exhibition of the Chinese artist Wang Xieda in an European museum. It consists of 14 drawings and 12 sculptures that shows his artistic production. This production allows us to appreciate the expressiveness of the artist who moves away from figurative tradition and from the limits of the traditional artistic structures. His work conceptually goes into new sculptural techniques. Wang Xieda's work combines classical techniques using ink and paper from the traditional calligraphic arts with an sculptural abstraction reminiscent of western avant-garde. <br /><br />The catalogue published on the occasion of the exhibition shows the exhibited works and publishes texts about the artist written by Consuelo Císcar, the IVAM's director, by the director of the Z-Art, Centre of Shanghai, Gong Yunbiao and by the exhibition's curator Li Xu. It also includes a chronological biography of the artist. <br /><br />Wang Xieda (Liaoning, China 1968) is an atypical sculptor who exhibits his drawings and large works made with rice paper and charcoal on canvas. His bronze moulds can remind western spectators of the attenuated and "drawn" forms in the space of Giacometti and David Smith. However, Wang Xieda's sculpture derives, as it is said, from Wang Xizhi, the calligraphic master of the fourth century. The transformation of the two-dimensional works into three-dimensional ones is analogue to the use of his own drawings that have 1.2 meters height. Those works are the starting point of his smaller sculptures: abstract representation of bulls, birds and human figures. They are also a vivid reminder of the fact that the drawings can provide a closer and more intimate perspective of the artist's thoughts and sometimes, it can be an opportunity to approach the unconsciousness. <br /><br />In the last twenty years, Wang Xieda, who lives and works in Shanghai, has been devoted to the study of text and calligraphy. The artist isn't just an admirer of the ancient China, but an admirer of all the ancient civilizations of the world. After years of studying, he realized that many of the pictograms of the first human civilizations were similar. Pictograms were the common way to represent the nature synthesizing the abstract forms in simple metaphors. Lines are the communication language and the more basic and effective way of dissemination taking into account all the visual forms. Chinese characters, a kind of hieroglyphics' extension used during the human civilization, are still used today. Former Chinese characters began crystallizing during the Banpo phase 6000 years ago. The first textual system totally completed appeared in the Chinese history during the Shang Dinasty in the fourteenth century BC. Like in some other ancient civilizations, the original characters were based on representations of natural images. That leads to a theory about the traditional Chinese art which ensures that painting and calligraphy have the same origin. <br /><br />Wang Xieda's recent works show an old style and an elegant pace, reminiscent of the aesthetic origins of the ancient civilizations. His sculptures and paintings create concise and unforeseeable moulds by using simple lines. Wang explores an abstract and purely aesthetic feeling through these visual forms, as for example with primitive totems and the first calligraphic symbols. He perfectly controls the harmony of the dimensions while creating a suitable space. A lot of spectators fall in love with Xieda's works due to the fact that spectators and author simultaneously see the eternal beauty of concision. <br /><br />In contrast to the changes of the twenty-first century, cultural and national traditions should find a new and contemporary language in order not to get out of time regarding the aesthetic expressions. This is the only way for younger people to study and inherit the traditions voluntarily. As an artist, Wang Xieda has looked for a common artistic and human experience. His efforts aren't intended to repeat the past but to use the simplicity and extent of the ancient art in order to recreate it. What makes his art contemporary and timeless is the clear interpretation of the ancient language with the current syntax that he uses to express his experiences and feelings. We can see a natural and serene confidence in Wang Xieda's works even in difficult and variable environments, exemplified by his competent expression of the national aesthetic. This exhibition that takes place at the IVAM is the first individual exhibition of Wang Xieda out of his country. We hope that the work will be appreciated and understood by western spectators.</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-67575608775970858442010-05-10T11:17:00.001+02:002010-05-10T11:19:46.155+02:00Pera Museum Welcomes Colombian Artist Fernando Botero's First Encounter with Istanbul<table border="0" cellpadding="0" cellspacing="0" width="956"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;">Pera Museum Welcomes Colombian Artist Fernando Botero's First Encounter with Istanbul<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover232456788888888</a><br /><br /></span><a href="http://www.artdaily.com/index.asp?int_sec=11&int_new=37866"><img src="http://www.artdaily.com/imagenes/2010/05/10/Pera-1.jpg" class="borde1" /></a><br /><span class="pie_g">Colombian artist Fernando Botero poses in front of his paintings "La Fornarina, After Raphael" (L) and "After Velazquez" at the Pera Museum in Istanbul, during a preview one day before the opening of his first exhibition in Turkey. REUTERS/Murad Sezer</span><br /></td></tr> <tr><td bgcolor="#feb700" valign="top" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/05/10/Pera-2.jpg" /><br /><br /><span align="top" class="pie_g">Colombian artist Fernando Botero poses in front of a self portrait at the Pera Museum in Istanbul, during a preview one day before the opening of his first exhibition in Turkey. REUTERS/Murad Sezer</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>ISTANBUL.-</b> Suna and İnan Kıraç Foundation <a href="http://www.peramuseum.org/" target="_blank">Pera Museum</a> welcomed one of the most exceptional artists of the 21st century, Fernando Botero in İstanbul for the very first time with an exhibition comprising a selection of 64 works.<br /><br />Botero’s art is not exclusively a narration or a representation, but brings with it the force of an inner vision, of his knocking on life’s door. Protecting his Latin and Colombian identity, Botero has succeeded forming his own style nourished not only by folkloric elements but also by the works of grand masters, and has poured his rich inner world into his works with a sophisticated, humorous and wise approach.<br /><br />Botero has brought a new interpretation to the aesthetics of our times, and the exhibition depicts this interpretation in six sections – the circus, the bullfight, Latin American people, Latin American life, still lifes and versions from past masters of the history of art. The works of the artist contain many references to his own culture and life, and in a unique style they question the concept of beauty in our century. <br /><br />From acrobats to matadors, dancing people to naked lovers, cardinals to sad clowns and to musicians, the exhibition invites us to discover Botero’s lyricism and his enchanting world. <br /><br /><b>Still Life</b><br />Still-life paintings play a crucial role in Botero’s work. By the end of the 60s they were regularly nourishing the seduction of an image that went beyond the simple composition of fruits or objects arranged on a table, often revealing a fully fledged world – a world rich and diversified, governed by well-entrenched rules.<br /><br />“When I paint an apple or an orange, I know that it will be possible to recognize them as mine and that it is I who painted them, because I seek to give to every painted element, even the simplest, a personality that comes from a profound conviction.” Thus, for Botero the overriding issue is to confer an authentic image even to inanimate objects, to still-lifes.<br /><br />In principle, the elements that make them up are enclosed in a restricted space, made even tighter by the presence of heavy tables that flaunt their rounded volumes and sizes as in Still Life with Lobster, and in the elegant Still Life with Fruits , where Cézanne’s influence is discernible in the studied complexity of the layout and in the abundant drapery that acts as a biding agent for the composition.<br /><br />The claustrophobic sense of this “scenic cube” is often overcome by the inclusion, within the painting, of a reflecting mirror, or an opening that allows the gaze to look outwards. This is very clear in Still Life with Watermelon where Botero utilizes the reflections of the objects and the presence of a door on the background to lighten the architecture of the painting and to give it depth, and to create, not only chromatic balances (the blue of the jug with the blue of the sky) but also structural ones by focusing on the contemporary presence of horizontal elements on the foreground set against the verticality of the room.<br /><br />It is but rarely that in Botero still-life paintings correspond to open air compositions such as in Picnic , which offers to the observer the possibility to admire landscapes, which are, indeed, very unusual for the artist.<br /><br /><b>Versions</b><br />One of the elements that best characterize Botero’s paintings is his ability to combine his original Latin-American culture, as nourished by the penchant for the hyperbolic and the fantastic, with the European one in an outstanding manner. Europe is obviously referred to through the much loved painting tradition of the likes of Giotto, Piero della Francesca, Leonardo, Mantegna, Velázquez, Goya, key reference points during his travels in Italy and Spain in the early 60s. It is the works of these masters that he will learn to admire in the halls of the Prado and the Louvre. These were successively flanked by Dürer and Rubens, Manet and Cézanne, as a testimony of the intellectual curiosity of Botero and his willingness to establish an ideal relationship with the great European art of the past and of the modern age, whose masterpieces have acted as beacons in the development of his art right from the outset. It is significant, in this light, his seeking inspiration, as early as in 1959, from Leonardo’s Mona Lisa.<br /><br />The history of art is a broad and practically unlimited hoard of images to be ransacked but not imitated. Botero does not imitate: he recreates in his own way, producing images that demand their own autonomy.<br /><br />His approach is surely not the imitation of the works of the masters or the mechanical replica of a model. What we have are full reinterpretations in which Botero wishes to pay homage, also by applying a dose of benevolent irony, to very famous paintings such as La Fornarina by Raffaello or The Arnolfini Wedding by Jan van Eyck, or Las Meninas by Diego Velázquez. He thus recreates their spirit after many centuries by presenting them in contemporary terms and by aligning them to his original idea in terms of volume, space, sign and color.<br /><br /><b>Bullfight</b><br />“I dared painting the corrida (bullfight) because I was very much familiar with the theme. It is impossible to paint if there doesn’t exist a strong relation between the subject and one’s soul. This relationship is absolutely necessary inasmuch as it gives you a sort of moral authority. That authority I had for the theme, flowed out from the sangre (‘blood’) and from my own life.”<br /><br />The bullfight was a theme that couldn’t be neglected in Botero’s work – a fascinating and highly suggestive theme that is deeply engrained in the tradition of his people.<br /><br />Obviously, what truly mattered for Botero is not only the combat between man and bull but all that takes place around this laic ritual: from the ‘taking of the habit’ on the part of the protagonists celebrated in the splendid elegance of their costumes and seen as modern-day heroes, to the entry on horseback of the matadors and picadors into the arena with the crowd that throng the stands applauding their idols – everything seems to be part of an extraordinary popular pageant where the violence that is inherent in the bullfight itself appears to be alien or experienced in a natural way even when at its goriest as in Dying Bull (p.??). The attention of the artist is focused on the spectacular choreography rather than on the tension of the moment, on the blood that is poured on the arena. <br /><br />As is his wont, Botero in these works relies on that felicitous process of contamination involving color and light, pictorial surface and substance itself of that kind of painting that underlie many of his painting, identifying himself with the theme to such an extent as to immortalize himself as a torero in the Self Portrait.<br /><br /><b>Circus</b><br />Botero fell in love with the circus in Mexico, where he often spent the winter months. It was there that he became enthralled by the characters that crowd the circus, loving the colors, the movement, the life and the stories that are the stuff of the circus show – a show both archaic and new that has been immortalized by artists of the calibre of Picasso, Léger, Chagall and many more. <br /><br />“A truly beautiful and timeless subject,” Botero has often said. He stages, narrates and illustrates circus life to its fullest, highlighting the work of the circus hands as they get the show ready as in Circus (p.??), or focusing on those moments when everyone is taking a break before or after the show, when the members of the large circus family rest for a while and share a moment of relax and conviviality as in Circus People with Elephants (p.??). Botero, though, offers us, above all, a gallery of very beautiful portraits, from Pierrot to Harlequin, from the equestrienne intent on her show to the acrobat-cum-contortionist, from the lion and tiger tamer to the clowns on their highly improbable stilts, from the elephant to the horses and camels… Botero offers us a gaily-colored and kaleidoscopic universe. The characters are captured during their performance, with maximum concentration showing on their faces, while the scenes evoke the distillation of the moment as mirth blends and alternates with melancholy, which are both inherent to the circus show. <br /><br />Botero, in fact, passes no judgment but simply describes in great detail without showing any indulgence or cruelty, and does not mock or ridicule. His images apparently amusing, funny and ironic reveal – for all those who are willing to go beyond a first cursory glance – meaning, and his circus suddenly becomes the great metaphor of life.<br /><br /><b>Latin American Life</b><br />In the works focusing on this subject matter, Botero insists on the vitality of man that cannot be extinguished even in the direst conditions of misery, in shantytowns, in places where life has no apparent reason… In Botero’s paintings there is a “people’s” background, a loyalty to his own Latin-American culture, a vivid memory of his childhood fancy.<br /><br />No matter how much his style has been perfected and enriched through the contact with Europe, the characters of civic and private drama, the daily grind, the whorehouses, the dancing fetes, the priests and cardinals are and continue to be tenaciously present in his work.<br /><br />Botero freezes on the canvas scenes from the daily life of Colombians – scenes often dramatic as in Street, where a runaway is being chased by the policeman amidst total indifference, or as in Suicide, where a desperate man plunges to his death from a window. While Botero also paints scenes of working life, such as the outstanding Sewing Workshop where each character is deeply intent on carrying out his or her task in an atmosphere of intense commitment, he also focuses his gaze on an instance of ironic meditation, as in The Seminary where five young priests are captured together as if posing for a rather unusual family portrait.<br /><br />And, of course, there are moments of entertainment as in Dancing, where couples dance away in a dancing hall, or in the crowded and more problematic End of the Party where in the pink confetto atmosphere, life passes against a backdrop of sexual intercourse, music and cigarettes and where the much flaunted existential promiscuity is but a way to stress the inner solitude of the individual.<br /><br /><b>Latin American People</b><br />“You can find in my painting a world I got to know during my youth. It is a sort of nostalgia, which I have turned into the central theme of my work. […] I lived fifteen years in New York and a long time in Europe, but this has changed nothing in my Latin American approach, nature and spirit. The communion with my country is total.”<br /><br />The points of reference for the young Botero were inevitably the multicolored boards and sculptures of colonial art, the direct and essential language of popular art and, with regards to the pureness of form, pre-Colombian art. These elements continue to be present in his paintings. They are the traits of a poetics that has refined over the years but which contain a cultural heritage that continues to be as spontaneous as ever, generating the same narrative force and impeccable finish.<br /><br />A recurrent feature in this group of works is the single individual, mostly female figures, such as the stern Standing Woman, or the monumental girl of Woman in Bathroom. The posture of the women is memorable and so are their clothes and gazes. Through them, Botero is able to forcefully show their personality and to tell us something about their lives, thoughts and desires. <br /><br />These are flanked by paintings featuring couples, such as Man and Woman, respectable middle-class persons who meet on the street almost as if it were a still from an early 20th century film, or Lovers , a man and woman who, naked, passionately embrace each other in a seedy hotel room. <br /><br />Also impressive are the group subjects that reveal the sheer existential variety of a community: from the joyous mirth of At the Park, where the background provides a glimpse of sheer beauty, to Three Women Drinking which is dominated by sadness, and The Sisters, an outstanding work featuring five women of varying ages whose poses reveal their personalities as well as the lives they have led in what is a disenchanted portrait of an age. <br /> <!-- Include virtual='/includes/sitio/guardian.asp'--> </td> </tr> </tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com1tag:blogger.com,1999:blog-29475434.post-10487266809836632502010-04-29T10:09:00.001+02:002010-04-29T10:11:22.683+02:00Exhibition of Monumental Sculpture by Colombian Artist Fernando Botero at Marlborough<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">Exhibition of Monumental Sculpture by Colombian Artist Fernando Botero at Marlborough<br /><br />artlover5566677788888888</a><br /><br /></span><a href="http://www.artdaily.com/index.asp?int_sec=11&int_new=37736"><img src="http://www.artdaily.com/imagenes/2010/04/29/Exhibition-of-Mon-1.jpg" class="borde1" /></a><br /><span class="pie_g">Fernando Botero, "Rape of Europa", 2007. Bronze, 114 x 120 x 62 inches. Photo: Courtesy Marlborough Gallery</span><br /><span style="font-size:130%;"><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/04/29/Exhibitin-of-Mon-2.jpg" /><br /><br /><span align="top" class="pie_g">Fernando Botero, "Woman on a Horse" 2006. Bronze. 114 1/8 x 87 3/8 x 55 1/8 inches. Photo: Courtesy Marlborough Gallery.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>NEW YORK, NY.-</b> On April 29, 2010, <a href="http://www.marlboroughgallery.com/" target="_blank">Marlborough Gallery</a> will present an exhibition of monumental sculpture by the world-renowned Colombian artist, Fernando Botero. The exhibition will feature work with classical subjects such as Leda and the Swan, 2007 (67 x 127 x 55 in.), and Rape of Europa, 2007 (114 x 120 x 62 in.). Botero’s large-scale sculptures have been exhibited to critical and popular acclaim in public exhibitions around the globe, including on the Champs Elysées in Paris, Park Avenue in New York, Chicago, Venice, and most recently in Berlin, Athens and Seoul.<br /><br />Botero’s monumental sculptures are formal masterpieces of composed volume and mass. He has said of his sculpture, “I never give particular traits to my figures. I don’t want them to have personality, but rather that they represent a type that I create. My sculptures do not carry any messages, social or otherwise… what matters for me is the form, the voluptuous surfaces which emphasize the sensuality of my work.”<br /><br />In addition to Leda and the Swan and Rape of Europa, Marlborough’s exhibition will include Woman on a Horse, 2006 (114 1/8 x 87 3/8 x 55 1/8 in.) and Reclining Woman, 2006 (65 3/8 x 137 3/4 x 56 3/4 in.). With these works, Botero contemporizes historical precedents such as the equestrian sculpture and the reclined nude, both of which have their artistic roots in antiquity. Standing over nine-feet tall, Rape of Europa is a unique interpretation of this mythological theme. The nude maiden reclines on her side on the back of the massive bull, balanced, with one hand supporting her head and another outstretched. The figure is poised in a relaxed manner as the strong bull supports her. The serenity of the pair are in contrast to the dynamic, shifting elements of Europa’s story as related by Ovid. Here, Botero depicts a languid Europa, with no trace of fear as described in Metamorphoses. Jupiter as the bull is attentive and his curled tail implies a degree of domesticity: Europa seems to have tamed him completely.<br /><br />Equally striking is Botero’s sculpture Leda and the Swan. Here the swan squats on Leda’s chest and stretches its elongated neck in an almost Mannerist gesture towards Leda’s turned face. The warm brown patina of the sculpture encourages the eye to explore the highlights and the shadows of the bird’s pointed wings and her voluptuous bronze body. Woman on a Horse, weighing over 1,600 pounds, is an imposing sculpture that impresses the viewer through its scale and solidity. Both the rider and her mount communicate a sublime stillness. Similar to Botero’s Reclining Woman, this sculpture has a rich, dark grey patina that absorbs light along the expansive volumes of the sculpture.<br /><br />Botero was born in Medellin, Columbia in 1932. He moved to Bogota in 1951 and had his first show there the same year. His first retrospective took place in 1970 in Germany at museums in Baden Baden, Berlin, Dusseldorf and Hamburg. Since then, Botero has continually showed in museums all over the world. In the last ten years he has had an astounding number of museum shows in the following countries: Argentina, Belgium, Brazil, Chile, Colombia, France, Germany, Greece, Israel, Italy, Japan, Korea, Mexico, the Netherlands, Portugal, Spain, Sweden, Switzerland, Uruguay, Venezuela, and the United States.<br /><br />Botero’s work can be found in forty-six museums. Among the most prominent are the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Israel Museum, Jerusalem; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; Neue Pinakothek, Munich, Germany; Pushkin Museum, Moscow, Russia; The Solomon R. Guggenheim Museum, New York; The State Hermitage Museum, St. Petersburg, Russia and the Wallraf-Richartz Museum, Cologne, Germany. Numerous monographs have been published on Botero’s work in English, Spanish, French, German, Italian, Chinese and Japanese. <!-- Include virtual='/includes/sitio/guardian.asp'--> </td> </tr> </tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com1tag:blogger.com,1999:blog-29475434.post-725024074232166692010-03-12T10:19:00.001+01:002010-03-12T10:20:42.391+01:00<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93"><span style="font-style: italic;">Unique Series of Craeyvanger Family Portraits On Display at the Mauritshuis Museum</span><br /><br /><span style="font-style: italic;">artlover333388888898</span></a><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/03/12/Unique-1.jpg" /><br /><br /><span align="top" class="pie_g">German Chancellor Angela Merkel, left, and Dutch Prime Minister Jan Peter Balkenende, second left, look at the painting "The Girl with the Pearl Earring" by Johannes Vermeer during a visit at Mauritshuis museum in The Hague, Netherlands, Thursday March 11, 2010. Merkel is in the Netherlands for a one-day visit. AP Photo/Robert Vos.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>THE HAGUE.-</b> <a href="http://www.mauritshuis.nl/" target="_blank">The Mauritshuis</a> is displaying ten exceptional portraits of Arnhem’s Craeyvanger family until 16 January 2011. The paintings are the only known series of portraits of the members of a single family - father, mother and eight children - to have survived from the seventeenth century. The series’ existence was relatively unknown until the paintings came up for auction in 2009. A private collection has lent the works to the Mauritshuis, where the unique ensemble are on display to the public for the first time in the Netherlands.<br /><br /><b>Craeyvanger Family</b><br />Willem Craeyvanger and Christine van der Wart were married on 20 November 1639. He was 22 years of age, and she was likely to have been somewhat younger. As well as being a cloth merchant, Willem was also the Rentmeester, or land agent, for the city of Arnhem and Governor of the city’s guild of merchants, the Guild of St. Nicholas. The couple prospered and had a big family: six boys and two girls survived infancy. Even by seventeenth-century standards, this was a large number of children. In 1666, fate intervened. The couple went bankrupt in March of that year and their possessions were seized, with the exception of the portraits, presumably because these were of little interest to the creditors. The Craeyvanger family portraits were handed down from generation to generation for several centuries. As a result, very few people – and even fewer art historians – knew of their existence. In 2009, a private collection acquired the entire series after they were put up for auction, ensuring that after 350 years the family would remain together.<br /><br /><b>Unique Series</b> <br />In the seventeenth century, it was not uncommon for the portraits of an entire family to be painted. Usually this took the form of a group portrait. The Craeyvangers, however, decided to commission ten individual portraits, a highly unusual thing to do at that time. Even more remarkable is the fact that the result is the only surviving series of seventeenth-century portraits to depict the members of a single family.<br /><br />The portraits were painted at different times. During a visit to The Hague in 1651, Willem Craeyvanger had his portrait painted by the local painter Paulus Lesire (1612-c.1654), who originally came from Dordrecht. Christine’s portrait followed in 1655. Lesire had died in 1654, so the commission fell to the young Caspar Netscher (c.1635/36-1684). Together with his master, Gerard ter Borch (1617-1681), Netscher painted all eight of the couple’s children in 1658. Ter Borch painted the four older children, Netscher the younger four. And just as their parents had been, the children were painted in pairs, neatly organised by their ages and the attribute they were holding.<br /><br />The Craeyvanger family portraits are displayed together in one room of the museum, together with several other portraits by Gerard ter Borch from the Mauritshuis’ own collection.</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-81685141374353069942010-03-05T14:43:00.001+01:002010-03-05T14:44:59.919+01:00<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; color: rgb(51, 51, 255);" align="center"><td class="titulo"><span style="font-size:130%;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">Christie's to Offer Monumental Masterpiece by Yves Klein in New York in May<br /><br /><span style="font-style: italic; color: rgb(255, 0, 0);">artlover0088888663338888</span></a><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/03/05/Christies-2.jpg" /><br /><br /><span align="top" class="pie_g">A Christie's employee stands next to French artist Yves Klein's masterpiece 'ANT 93, Le Buffle' (The Buffalo), 1960-61, as another walks past it at Christie's auction house in London, Britain, 04 March 2010. The painting by the French artist is offered for the first time at auction in New York, USA, on 11 May and is expected to fetch 10 million USD. Klein used females bodies as the paintbrush along with his distinctive 'International Klein Blue' colour, the artist's patented pigment. EPA/FELIPE TRUEBA.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>NEW YORK, NY.-</b> <a href="http://www.christies.com/" target="_blank">Christie’s</a> will offer a large-scale masterpiece by Yves Klein at the auction of Post-War and Contemporary Art in New York on the evening of 11 May 2010. ANT 93, Le Buffle (“The Buffalo”), 1960-61, is a monumental work from the artist’s celebrated Anthropométrie series that stands over 9 feet wide (70 x 110 3/8 in. / 177.8 x 280.4 cm.). Offered at auction for the first time, the work is expected to realise in the region of $10 million. The sale coincides with the first major American retrospective of the artist’s work for 30 years, Yves Klein: With the Void, Full Powers which will be held at the Hirshhorn Museum and Sculpture Garden, Washington D.C., from 20 May to 12 September 2010 and The Walker Art Center, Minneapolis, from 23 October 2010 to 13 February 2011.<br /><br />The strength of Klein’s market was demonstrated at the London sales held this February, where the works of Yves Klein achieved a combined total of £16,355,500/$25,576,169, with £10,234,500/$15,988,406 sold at Christie's alone. The particularly buoyant results that have been realised by Klein reflect the current wave of vested interest in the Art Zero Movement, of which ANT 93, Le Buffle (“The Buffalo”) is a perfect example.<br /><br />ANT 93, Le Buffle (“The Buffalo”) was executed in 1960-61 and is a monumental work from the last great series created by the artist before his untimely death by way of heart attack at the age of 34. Photographs of the artist in his flat in Paris in the early 1960s reveal ANT 93, Le Buffle (“The Buffalo”) hanging prominently on his sitting room wall; the artist with Martial Raysse). Additional examples from this small and rare group can be found at The Centre Pompidou, Paris and Guggenheim Museum, Bilbao.<br /><br />Painted in the distinctive ‘International Klein Blue’ – the artist’s patented pigment for which he is most recognised– it is a work that captures and presents the artist’s fascination with movement, form and human existence. Over a giant support, Klein orchestrated the movement of curvaceous women coated in his signature pigment to create this glorious rhapsody in Klein Blue which has literally used the beautiful female form as the paintbrush to create a giant animalistic image, hence the subtitle, Le Buffle (“The Buffalo”). “I personally would never attempt to smear paint over my own body and become a living brush; on the contrary, I would rather put on my tuxedo and wear white gloves. I would not even think of dirtying my hands with paint. Detached and distant, the work of art must complete itself before my eyes and under my command. Thus, as soon as the work is realised, I stand there, present at the ceremony, spotless, calm, relaxed, worthy of it, and ready to receive it as it is born into the tangible world” said Yves Klein as quoted by N. Rosenthal in ‘Assisted Levitation: The Art of Yves Klein (pp.89-135, Yves Klein 1928-1962: A Retrospective, exh. cat., Houston, 1982, p. 124).<br /><br />Yves Klein (1928-1962) is recognised as one of the most influential artists of the Post-War period. Having lived in Japan studying as a judo teacher in the early 1950s, he returned to Paris in 1954 where he first found fame for his exhibitions of monochrome paintings and then for Le vide, an avant-garde exhibition held in 1958 which consisted of an empty gallery with white painted walls and a large cabinet. Klein experimented with a number of methods for applying paint including sponges and rollers. In 1960 he first exhibited works from a new series he called Anthropométrie for which he applied paint using the flawless female bodies of naked models. Also referred to as ‘living brushes’, Klein often dressed in evening wear and pristine white gloves to conduct the production of his painting, done to the accompaniment of an orchestra playing his Symphonie Monotone – a single note played for ten minutes and alternated with ten minutes’ silence. These works drew a great reception in Europe and Anthropométrie become one of the artist’s most celebrated series. </td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com1tag:blogger.com,1999:blog-29475434.post-37097300840002679802010-02-08T14:29:00.005+01:002010-02-08T15:40:49.070+01:00Happy New Year all you TIGERS!!!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://secure.smilebox.com/ecom/openTheBox?sendevent=4d5451334f444d334d7a673d0d0a&sb=1"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhknebQO4m-gTjfz75at8wP2j_x9sI7Uuk1Cpa7UClQ0Y0xPyTDP8UAownB4pYoB41FakJNvwARE1hbPcW31Cg57RqhRQ0ZxT0xoNZmc1n6LSlpVgfJ5guJJSQpcn302VR8-wl2UA/s400/MyPicture3.jpg" alt="" id="BLOGGER_PHOTO_ID_5435874401489283538" border="0" /></a><br /><div style="text-align: center; font-weight: bold;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93"><span style="font-size:130%;"><span style="color: rgb(255, 0, 0);font-family:verdana;" >Happy New Year all you TIGERS!!!</span><br /></span></a></div><br /><br /><br /><div style="text-align: center; font-weight: bold; font-style: italic; color: rgb(0, 153, 0);"><a href="http://secure.smilebox.com/ecom/openTheBox?sendevent=4d5451334f444d334d7a673d0d0a&sb=1"><span style="font-size:180%;"><span style="font-family:verdana;">Hi guys, tout le monde,Gong Xi Fa Cai!!</span></span></a><br /><br /><br />Most photos taken by Marianne DOGGETT in Hong Kong<br /><br /><img src="file:///C:/Temp/Year_of_the_tiger/MyPicture3.jpg" alt="" /><img src="file:///C:/Temp/Year_of_the_tiger/MyPicture3.jpg" alt="" /><img src="file:///C:/Temp/Year_of_the_tiger/MyPicture3.jpg" alt="" /><img src="file:///C:/DOCUME%7E1/TIMAUW%7E1/LOCALS%7E1/Temp/moz-screenshot.png" alt="" /><img src="file:///C:/DOCUME%7E1/TIMAUW%7E1/LOCALS%7E1/Temp/moz-screenshot-1.png" alt="" /><img src="file:///C:/DOCUME%7E1/TIMAUW%7E1/LOCALS%7E1/Temp/moz-screenshot-2.png" alt="" /><br /><img src="file:///C:/Temp/Year_of_the_tiger/MyPicture3.jpg" alt="" /><img src="file:///C:/Temp/Year_of_the_tiger/MyPicture3.jpg" alt="" /></div><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-64775529337406724702010-02-01T17:24:00.001+01:002010-02-01T17:27:48.250+01:00<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;">Nassau County Museum of Art Announces Exhibition by Fernando Botero<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover66778888888888888</a><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/02/01/Nassau-2.jpg" /><br /><br /><span align="top" class="pie_g">Fernando Botero, "Venus", 2005. Oil on canvas, 67 1/2 x 50 1/2 inches. Photo; Courtesy: David Benrimon Fine Art LLC.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>ROSLYN HARBOR, NY.-</b> <a href="http://nassaumuseum.org/" target="_blank">Nassau County Museum of Art</a> (NCMA) will present a major exhibition that showcases work by one of the most honored Latin American artists working today. Fernando Botero includes a range of paintings, drawings and monumental sculpture that exemplify Botero’s most familiar themes: commonplace scenes of everyday life, life in the bedroom, life of the streets and people rapt in the excitement of music or family activities. Throughout, Botero’s characters are seen in their “Botero-esque” girth and grandeur. Works by this famed artist were previously seen at the museum in a major 2005 exhibition. Fernando Botero opens at NCMA on March 13, 2010 and remains on view through May 24, 2010. The exhibition is sponsored by David Benrimon Fine Art LLC.<br /><br />A native of Colombia, Botero has resided in New York, Paris and Tuscany. In the 1960s, he began to achieve acclaim for his satirical paintings of oversized, flesh figures with large limbs and small bodies. In 1971 he began making sculptures as well, an example of which is Man on Horseback —a self-assured gentleman in a suit and bowler hat, his legs as large as those of the horse. This work greets visitors along the wooded path leading to the museum and is a permanent part of NCMA’s Sculpture Park. Botero’s smooth rounded depictions of people and animals exhibit a comic disregard for correct proportions. This skewing of form is central to works by Botero. He has said: “In art, as long as you have ideas and think, you are bound to deform nature. Art is deformation.”<br /><br />Botero’s work and vision were honed in his studies of art history. He was strongly influenced by the masters of the Renaissance and Baroque period, most especially by Diego Velázquez. The greatest master of the Spanish Golden Age, Velázquez has traditionally served as both inspiration and challenge for artists, especially those from Spain and Latin America. Botero came into first-hand contact with Velázquez’s work in Madrid, in 1952 when he studied at the Royal Academy of San Fernando. Botero particularly connected with the humanity, individuality and compassion of Velázquez’s portraits of the dwarfs of the court of King Philip IV, employed as jesters and caretakers for the royal children.<br /><br />Botero is additionally one of the most well-known and respected of the late 20th-century still-life painters. His representations of fruits, flowers, vegetables, sweets, meats and cheeses embody many of the characteristics that are observed in his other subjects. They display a marked engagement with sensuality. There is a sense of the sacramental or the ritual in many of these paintings. A number of Botero’s still lifes have particular resonance within the context of Colombia, often displaying distinctively Colombian meals, birthday tables or references to other occasions celebrated in that country.</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-32146462073966968082010-01-22T10:37:00.001+01:002010-01-22T10:38:43.394+01:00Cars by Warhol,<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-weight: bold; font-style: italic; color: rgb(255, 0, 0);font-family:verdana;" align="center"><td class="titulo"><span style="font-size:130%;">Cars by Warhol, Fleury, Longo, Szarek from the Chrysler Collection Opens at Albertina<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover7766558888888</a><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/01/22/Cars-2.jpg" /><br /><br /><span align="top" class="pie_g">A visitor takes a photo of Andy Warhol's Mercedes-Benz 300 SL Coupe (1954) at the Albertina museum, in Vienna, Austria, Thursday, Jan. 21, 2010. Under the title "Cars" the Albertina museum is showing an exhibition from the artists Andy Warhol, Sylvie Fleury, Robert Longo and Vincent Szarek. AP Photo/Ronald Zak.</span><br /><br /></td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>VIENNA.-</b> CARS presents works from the Daimler Collection, by artists Andy Warhol, Robert Longo, Sylvie Fleury, and Vincent Szarek. Common to all of the works is their examination of the history, the types, or the design of the Mercedes-Benz car. The core of the exhibit are the thirty-five silkscreen paintings of Andy Warhol’s (1928–1987) series CARS, which employ eight selected types of Mercedes to document the history of the automobile. This important late series by Warhol remained unfinished and after around twenty years is being shown again complete. Joining this series are drawings and airbrushed paintings by Robert Longo (*1953). Videos by Sylvie Fleury (*1961) blend the myth of the legendary Mercedes-Benz automobile with some of the most contemporary ideas from the art and fashion worlds. Vincent Szarek (*1973) uses design elements from the Mercedes-Benz SLR as the starting point for his group of sculptures, which were digitally developed as a modern form of drawing, rendered with 3D programs.<br /><br />Andy Warhol’s CARS series from 1986/87 can be seen as a highlight in the late working phase of the Pop artist. Commissioned on the occasion of the hundredth anniversary of the automobile, it would be the artist’s last series and remained incomplete. Of the eighty planned pictures, intended to use twenty selected Mercedes-Benz models to document the history of the car from the 1886 Daimler Motor Carriage and the Benz Patent Motor Car to 1986, Warhol completed thirty-five paintings (thirty-two of them belong to the Daimler Art Collection) and twelve large-format drawings showing eight different models. The first eight models were completed by early January 1987, each in two versions: a single and a multiple portrayal. The artist produced the three additional large-format works in the last two weeks before his death on February 22. Between 1988 und 1991, the Warhols CARS serie has been exhibited in museums internationally, starting in the Kunsthalle Tübingen and in the Guggenheim Museum New York as well as in Tokyo, Bern, Madrid und Barcelona. After around twenty years the series is again shown complete.<br /><br />The commission that went to Andy Warhol in 1986 was groundbreaking for the intense cooperation with artists as well as for the early international direction taken by the Art Collection. A second commission went to the New York-based artist Robert Longo in 1995, who created a sequence of five black-and-white automobile “portraits” and a “big-screen” grid profile of a compressor convertible. Vincent Szarek, New York, examined the phenomenon of individualized mass production, using his shiny-painted picture objects to connect the design history of the car with hybrid surfaces from the Baroque to the contemporary wireframe.<br /><br />In 2005, Sylvie Fleury created a series of six three-channel videos for the Mercedes-Benz Center in Paris. These films, which form an outstanding part within Fleury’s multimedia work created since 1990, blend the appeal of legendary Mercedes-Benz automobiles—from the Lightning Benz and the Gullwing to the C 111— with the latest contemporary ideas from the worlds of art and fashion.<br /><br />Since the eighties, commissions to design and realize site-specific works have gone to Max Bill, Heinz Mack, François Morellet, Walter De Maria, Nam June Paik, Robert Rauschenberg, Ben Willikens, Tamara K. E., Gerold Miller, Auke de Vries, Pietro Sanguineti, Franz Erhard Walther, Jan van der Ploeg, Nic Hess, Andreas Schmid, Stephane Dafflon, and other artists, who created large sculptures, wall objects, or murals for various company sites.<br /><br />The Daimler Art Collection is one of the most renowned German corporate collections. It focuses on the area of twentieth-century Abstract Art: from the circle of artists around Adolf Hölzel in Stuttgart in the nineteen-tens, Bauhaus, Constructivism, Concrete Art, the European Zero avant-garde, Minimalism, Conceptual tendencies, and Neo Geo, all the way to the most recent contemporary art. There are areas dedicated to photography and media art as well as a total of thirty large public sculptures in Stuttgart, Sindelfingen, and Berlin. In-house exhibitions, at the Daimler Contemporary exhibition space at Potsdamer Platz in Berlin, and at international museums as well as grants awarded to upcoming artists communicate the Daimler Art Collection to a wide audience. </td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-75869267477776756442010-01-21T10:19:00.002+01:002010-01-21T10:22:49.278+01:00Picasso and Renoir, Unseen for Over 40 Years, Go on Public Display at Christie's<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-weight: bold; font-style: italic; color: rgb(255, 102, 0);font-family:verdana;" align="center"><td class="titulo"><span style="font-size:130%;">Picasso and Renoir, Unseen for Over 40 Years, Go on Public Display at Christie's<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">artlover223448888888</a><br /><br /></span><a href="http://www.artdaily.com/index.asp?int_sec=11&int_new=35755"><img src="http://www.artdaily.com/imagenes/2010/01/21/Picasso-1.jpg" class="borde1" /></a><br /><span class="pie_g">A Christie's employee looks at a 1963 painting entitled "Tete de femme (Jacqueline)" by Pablo Picasso on display at the auction house in London, Wednesday, Jan. 20, 2010. The painting is to be auction at 'Impressionist and Modern Art' sale on Feb. 2 with an estimated price of 3 to 4 million pounds (US$4.9 to 6.5 million or 3.5 to 4.6 million euro). AP Photo/Sang Tan.</span><br /></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/01/21/Picasso-2.jpg" /><br /><br /><span align="top" class="pie_g">A visitor looks at a the 1936 painting "Nu aux jambes croisees" by Henri Matisse, on display at the Christie's auction house in London, Wednesday, Jan. 20, 2010. The painting is to be auction at 'Impressionist and Modern Art' sale on Feb. 2 with an estimated price of 2.5 to 4 million pounds (US$4.1 to 6.5 million or 2.9 to 4.6 million euro). AP Photo/Sang Tan.</span><br /><br /></td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>LONDON.-</b> From 20 January 2010, <a href="http://www.christies.com/" target="_blank">Christie’s</a> will host a public exhibition showing masterpieces by Pablo Picasso, Pierre-Auguste Renoir and Natalia Gonchorova that have been unseen in public for nearly 40 years, as well as an outstanding masterpiece by Yves Klein and important works by Henri Matisse, Peter Doig, Rene Magritte, Frank Auerbach, Kees van Dongen and Martin Kippenberger.<br /><br />These are the leading highlights from the forthcoming series of auctions of Impressionist and Modern Art and Post-War and Contemporary Art which will take place at Christie’s in London from 2 February, and which is expected to realise in the region of £120 million.<br /><br />Jussi Pylkkanen, President of Christie’s Europe and Middle East: “Christie’s modern exhibition space in London allows us to present to the public works of art that have often been hidden in private collections for decades, and which may be sold to private collectors and be unseen for years to come. From 20 January we look forward to hosting a special exhibition that will show exceptional works of art from the 19th and 20th centuries, including important works by Picasso, Renoir, Matisse and Goncharova that haven’t been seen in public for over 40 years, alongside one of the most important works by Yves Klein ever offered at auction, and masterpieces by Peter Doig, Natalia Gonchorova, Frank Auerbach and Kees van Dongen.”<br /><br />Works of art on view:<br /><br />· Tête de femme (Jacqueline), 1963, by Pablo Picasso (1881-1973) is a portrait of the artist’s second wife. It has been unseen in public since 1967 and is expected to realise £3 million to £4 million.<br /><br />· Mademoiselle Grimprel au ruban rouge, 1880, is an important work by Pierre-Auguste Renoir (1841-1919) which dates to the highpoint of the artist’s portrait painting. It will be shown in public for the first time since the 1960s and is expected to realise £1.8 million to £2.5 million.<br /><br />· Relief éponge or (RE47II) is an outstanding masterpiece and one of only two gold sponge reliefs ever created by Yves Klein (1928-1962). It is expected to realise £5 million to £7 million.<br /><br />· Espagnole, circa 1916, by Natalia Goncharova (1881-1962) is one of the finest examples of the artist’s work to be offered at auction. It will be exhibited to the public for the first time since 1971, and is expected to realise £4 million to £6 million. Gonchorova holds the world record price for any painting by a female artist sold at auction.<br /><br />· Head of J.Y.M., 1973, by Frank Auerbach (b.1931) is one of the artist’s most important portraits and portrays his most famous Muse, Juliet Yardley Mills (estimate: £900,000 to £1,200,000). The artist’s Head of Helen Gillespie VI, 1966, will also be on view (estimate: £600,000 to £800,000). Auerbach is one of the most important living British artists alongside his great compatriot and one of his biggest fans, Lucian Freud.<br /><br />· Gitane, circa 1910-1911, by Kees van Dongen (1877-1968) is a striking portrait by the Dutch artist which was executed at one of the most important periods of his career. It carries an estimate of £5.5 million to £7.5 million.<br /><br />· Nu aux jambes croisées, 1936, by Henri Matisse (1869-1954) will be exhibited to the public for the first time since 1951 (estimate: £2.5 million to £4 million).<br /><br />· Anthropométrie (ANT 5) by Yves Klein (1928-1962) is the largest of only six works from this celebrated series to incorporate a mixture of fire and blue pigment (estimate: £1.5 million to £2 million)<br /><br />· Concrete Cabin West Side by Peter Doig (b.1959) is arguably the greatest example from the series that was the inspiration for the artist’s Turner Prize installation at the Tate in 1994 (estimate: £2 million to £3 million).<br /><br />· La robe du soir, 1955, by René Magritte (1898-1967) was painted for the celebrated Belgian writer Jan-Albert Goris (1899-1984) (whose pseudonym was Marnix Gijsen) and will be offered with an estimate of £400,000 to £600,000.<br /><br />· Untitled (from the series Lieber Maler Male mir / Dear Painter Paint Me), 1983, is an important self-portrait by Martin Kippenberger (1953-1997) (estimate: £800,000 to £1,200,000).</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-38363565529108187922010-01-18T15:17:00.000+01:002010-01-18T15:18:42.085+01:00Henri Cartier-Bresson Foundation Presents Never Before Seen Photos by Robert Doisneau<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-style: italic; color: rgb(102, 51, 255); font-weight: bold;" align="center"><td class="titulo"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">Henri Cartier-Bresson Foundation Presents Never Before Seen Photos by Robert Doisneau</a><br /><br />artlover666777888888888<br /></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/01/18/Cartier-1.jpg" /><br /><br /><span align="top" class="pie_g">Two visitors to the Henri Cartier-Bresson Foundation look at photographs by Robert Doisneau. EFE/Lucas Dolega.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>PARIS.-</b> <a href="http://www.henricartierbresson.org/" target="_blank">The Henri Cartier-Bresson Foundation</a> opened an exhibition of approximately 100 photographs taken by Robert Doisneau. The photographs have been gatheres from the Foundations collections and other museum and private collections. The exhibition aims to show the viewer the world Doisneau wanted to prove existed.<br /><br />The catalog, published in French by Steidl, is accompanied by a text written by Agnès Sire and of a review made by art critic Jean-François Chevrier in 1983.<br /><br />"There are several photographs in this show that have always been presented in other exhibitions, but there are others that have never before been seen,"said the curator Agnès Sire to EFE.<br /><br />Robert Doisneau (April 14, 1912 - April 1, 1994) was a French photographer noted for his frank and often humorous depictions of Paris street life.<br /><br />Robert Doisneau was one of France's most popular and prolific reportage photographers. He was known for his modest, playful, and ironic images of amusing juxtapositions, mingling social classes, and eccentrics in contemporary Paris streets and cafes. Influenced by the work of Kertész, Atget, and Cartier-Bresson, in over 20 books Doisneau has presented a charming vision of human frailty and life as a series of quiet, incongruous moments. Doisneau has written: "The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street."<br /><br />Among his most recognizable work is Le baiser de l'hôtel de ville (Kiss by the Hôtel de Ville), a photo of a couple kissing in the busy streets of Paris. The identity of the couple was a mystery until 1993, when Denise and Jean-Louis Lavergne took Doisneau to court for taking the picture without their knowledge. This action prompted Doisneau to reveal that he posed the shot in 1950 using actor/models Françoise Bornet and Jacques Carteaud. Françoise was given an original print as part of her payment. In April 2005 she sold the print for 155,000 € at an auction. Paris was one of the favorite photographic subjects of Doisneau.<br /><br />Doisneau's work gives unusual prominence and dignity to children's street culture; returning again and again to the theme of children at play in the city, unfettered by parents. His work treats their play with seriousness and respect. In his honour, and owing to this, there are several Ecole Primaire (Primary Schools) names after him. An example is at Veretz (Indre-et-Loire).<br /></td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-41985829494239339322010-01-12T11:26:00.002+01:002010-01-12T11:33:16.292+01:00Van Gogh's Starry Night Named World's Most Popular Oil Painting of the Decade<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr><td class="titulo"><div style="text-align: center;"><span style="font-size:130%;"><span style="font-family: verdana;">Van Gogh's Starry Night Named World's Most Popular Oil Painting of the Decade<br /><br /><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93"><span style="color: rgb(255, 0, 0); font-style: italic;">artlover44558888688</span></a><br /><br /></span></span><a class="titulonew_sec" href="http://www.artdaily.com/index.asp?int_sec=2&int_new=35576">Van Gogh's Starry Night Named World's Most Popular Oil Painting of the Decade </a><br /><br /><a href="http://www.artdaily.com/index.asp?int_sec=2&int_new=35576"><img src="http://www.artdaily.com/imagenes/2010/01/12/Van-Gogh-1ch.jpg" class="borde" width="295" /></a><br /><br /><span class="pie">"Cafe Terrace at Night" by Vincent Van Gogh. The second piece in the "Van Gogh Starry Night Trilogy". It's popularity in the past decade has soared and is a synonym for style and sophistication.</span><br /></div> </td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2010/01/12/van-gogh-2ch.jpg" /><br /><br /><span align="top" class="pie_g">"The Kiss". Gustav Klimt.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>WICHITA, KAN.-</b> <a href="http://www.overstockart.com/" target="_blank">overstockArt.com</a>, the leader in handmade oil painting art reproductions, has officially released its Top 10 list of the most popular oil paintings from the past decade. Topping the list is Vincent van Gogh’s irrefutable magnum opus, "Starry Night".<br /><br />“We release an annual Top 10 list and thought it would be interesting to look back over the past decade to determine the trendiest and most sought after hand painted oil painting reproductions,” said David Sasson, CEO of overstockArt.com. “Not surprisingly, the notoriously eccentric artist, Van Gogh, leads the list with his masterpieces "Starry Night" and "Café Terrace at Night".” According to overstockArt.com’s statistics, Van Gogh’s total sales numbers have far exceeded those of any of the other great masters.<br /><br />The top ten oil paintings sold online in the last decade according to overstockArt.com are: <br /><br />1. "Starry Night" – Vincent van Gogh<br />2. "Café Terrace at Night" – Vincent van Gogh<br />3. "The Kiss" – Gustav Klimt<br />4. "Poppy Field at Argenteuil" – Claude Monet<br />5. "The Mona Lisa" – Da Vinci<br />6. "Le Rêve" (The Dream in French) – Pablo Picasso<br />7. "Luncheon of the Boating Party" – Pierre August Renoir<br />8. "The Scream" – Edvard Munch<br />9. "Red Cannas" – Georgia O’Keeffe<br />10. "Persistence of Memory" – Salvador Dali <br /><br />In the past decade overstockArt.com sold more than a million oil paintings. They are one of the Web’s most successful distributors of wall décor items with over 10,000 daily visitors and 100,000 loyal customers. “As the Modern Art movement was conquering the auction floors getting record breaking numbers in Sotheby’s and Christie’s, we slowly became the destination for art lovers who could not afford the high price tags of galleries, but wanted to enjoy the hand painted art of the great masters in their homes,” explained Sasson.<br /><br />One of the interesting points that the top 10 oil paintings of the decade presents is that the modern artists from the turn of the last century such as Van Gogh, Monet and Klimt are still the most desirable artists in the world. “Our numbers indicate that as the years turn and our world evolves some things remain consistent,” said Sasson. “People are still captivated by the elegance and beauty that the classic artists bring to their home. It will be interesting to see when, if ever, this trend begins to fade.”</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-26757644032135284732009-11-26T15:07:00.001+01:002009-11-26T15:09:30.232+01:00David Hockney's Bigger Trees Near Warter Presented at Tate Britain<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; color: rgb(0, 153, 0);" align="center"><td class="titulo"><span style="font-size:130%;">David Hockney's Bigger Trees Near Warter Presented at Tate Britain<br /><br />artlover4665588888888<br /><br /></span><table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr></tr><tr><td colspan="3" height="10"><br /></td></tr> <tr><td colspan="3" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td colspan="3" height="10"><br /></td></tr> <tr><td colspan="3" class="textomedianogris" valign="top" align="left"><a href="http://www.artdaily.com/index.asp?int_sec=11&int_new=34553"><img src="http://www.artdaily.com/imagenes/2009/11/26/David-1.jpg" class="borde1" /></a><br /><span class="pie_g">David Hockney walks in front of his painting "Bigger Trees Near Warter" at Tate Britain in London. Photo: EFE/Felipe Trueba</span></td></tr></tbody></table><br /></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2009/11/26/David-2.jpg" /><br /><br /><span align="top" class="pie_g">British artist David Hockney poses for photographers near his painting "Bigger Trees Near Warter" at Tate Britain in London. REUTERS/Suzanne Plunkett.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>LONDON.-</b> David Hockney gifted Bigger Trees near Warter 2007 to <a href="http://www.tate.org.uk/" target="_blank">Tate</a> in 2008. The oil painting, his largest ever, was made on fifty canvas panels and was executed outside, en plein air. Measuring 4.6 x 12.2 metres (15 x 40 feet), its subject is a typical Yorkshire landscape, west of Bridlington. The work was first exhibited in 2007 at the Royal Academy Summer Exhibition. David Hockney also presented Tate with two digital photographic renderings of the painting on paper sheets in the same dimensions as the oil.<br /><br />Focusing on the arrival of spring before trees have come into leaf, Bigger Trees near Warter features two copses, a mighty sycamore tree, buildings and a road curving to the left flanked by early flowering daffodils.<br /><br />Hockney’s ambition to paint such a large-scale canvas posed a problem as it was impossible for him to step back and view the whole work. He began by making drawings and used these to locate where each canvas would fit in the composition. From these a computer-mosaic of the picture was generated enabling him to step back, albeit in a virtual space. Hockney was then able to take the individual canvas panels to the site and thus create his enormous work over a six-week period.<br /><br />David Hockney said: ‘My picture is adaptable. You can split it in two and show one or both halves, or even a quarter of it. Or show the painting with two full-scale reproductions that would almost make a cloister.’<br /><br />Commenting on the gift, Nicholas Serota, Director, Tate said: ‘Standing before David Hockney’s Bigger Trees near Warter, the viewer is overwhelmed by the beauty of the winter trees and the energy of the Yorkshire landscape. In this work he has deftly joined together the tradition of painting en plein air with digital technology on a monumental scale.’<br /><br />East Yorkshire first engaged Hockney’s imagination as a teenager. As an adult, he has intermittently returned to this part of England when visiting his mother and sister at their home in the coastal town of Bridlington. However, he only became fully absorbed by the landscape over the past four years, making it the primary source of inspiration for his art. Five paintings from David Hockney’s East Yorkshire landscape series were exhibited for the first time in the UK at Tate Britain in a display entitled David Hockney: The East Yorkshire Landscape.<br /><br />There are seven paintings by Hockney in Tate Collection including The First Marriage (A Marriage of Styles I) 1962, acquired as early as 1963, the celebrated A Bigger Splash 1967 and Mr and Mrs Clark and Percy 1970 -71. The Collection also includes many works of paper.<br /><br />David Hockney was born on 9 July 1937 in Saltaire, Bradford. He graduated from the Bradford School of Art in 1957 and studied at the Royal College of Art from 1959-1962. While there he met RB Kitaj and became instrumental in the founding of the British Pop Art movement. Hockney settled in Los Angeles in 1978. He has been the subject of countless solo exhibitions worldwide including a major touring retrospective held at the Los Angeles County Museum of Art, The Metropolitan Museum of Art, New York and the Tate Gallery, London in 1988. </td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com1tag:blogger.com,1999:blog-29475434.post-39632383517045195162009-11-13T11:22:00.001+01:002009-11-13T11:26:45.792+01:00Tormented Italian Master Caravaggio and Francis Bacon Connect in Rome Show<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">Tormented Italian Master Caravaggio and Francis Bacon Connect in Rome Show<br /><br />artlover6678888888</a><br /><br /></span><a href="http://www.artdaily.com/index.asp?int_sec=11&int_new=34265"><img src="http://www.artdaily.com/imagenes/2009/11/13/Tormented-1.jpg" class="borde1" /></a><br /><span class="pie_g">Visitors walk in front of Francis Bacon paintings during an exhibition at the Galleria Borghese in Rome. Photo: Reuters/Max Rossi.</span><br /><span style="font-size:130%;"><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2009/11/13/Tormented-2.jpg" /><br /><br /><span align="top" class="pie_g">A man looks at a Caravaggio painting during an exhibition at the Galleria Borghese in Rome November 11, 2009. Portraits by Italian master Caravaggio and Irish-born 20th-century painter Francis Bacon stand side-by-side in a new exhibition, connecting their tormented views of humanity despite contrasting approaches to realism. The show at Rome's Galleria Borghese marks 400 years since Caravaggio's death and 100 years since Bacon's birth and at its heart lies their shared fascination with the human form and their predilection for the expressive portrait. Reuters/Max Rossi.<br /><br />By: Ella Ide</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>ROME (REUTERS).-</b> Portraits by Italian master Caravaggio and Irish-born 20th-century painter Francis Bacon stand side-by-side in new exhibition connecting their tormented views of humanity despite contrasting approaches to realism.<br /><br />The show at Rome's Galleria Borghese marks 400 years since Caravaggio's death and 100 years since Bacon's birth and at its heart lies their shared fascination with the human form and their predilection for the expressive portrait.<br /><br />Both were radical for their times: against the distorted idealism of high mannerism, Caravaggio was driven by obsessive attention to the real, while Bacon was derided for his refusal to relinquish the human figure in favor of abstraction.<br /><br />"Bacon can be compared to Caravaggio above all in terms of intensity," said art historian Michael Peppiatt, co-curator of the exhibition and Bacon's close friend and biographer.<br /><br />Both painters have been seen as icons of gay, tormented genius and their tragic natures and lives marked by violence -- Bacon's lover committed suicide and Caravaggio was condemned to death after killing a man -- are echoed in their works.<br /><br />"They were both conscious of the shortness of life and of the fragility of humanity, and each powerfully conveys this consciousness through his art," said Peppiatt in a statement.<br /><br />Seventeen works by Bacon are featured alongside 14 paintings by Caravaggio, six of which, including the "Madonna with the Serpent" and the "Sick Bacchus," belong to the Borghese's permanent collection.<br /><br />Many of the works by Bacon, including "Head VI," the result of his studies of Velazquez's portrait of Pope Innocent X, are on loan from London's Tate Gallery.<br /><br />The lavish entrance to the Galleria Borghese is devoted to Bacon's triptychs, painted after the suicide of his lover George Dyer, with chilling scenes of distorted, semi-naked male figures whose life oozes from them to form flesh-colored puddles.<br /><br />The show runs until January 24, 2010 and has already attracted well over 67,000 visitors, with the record numbers forcing the Borghese to extend its open hours and increase the number of tickets available for the daily tours by 30 percent.</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-82992101239006936102009-11-12T11:05:00.001+01:002009-11-12T11:07:03.393+01:00Andy Warhol's Iconic 200 One Dollar Bills from 1962 Sells for $43,762,500 at Sotheby's<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: trebuchet ms; font-weight: bold;" align="center"><td class="titulo"><span style="font-size:130%;">Andy Warhol's Iconic 200 One Dollar Bills from 1962 Sells for $43,762,500 at Sotheby's<br /><br /><span style="font-style: italic; color: rgb(255, 0, 0);">artlover44533888888888<br /><br /></span></span><a href="http://www.artdaily.com/index.asp?int_sec=11&int_new=34244"><img src="http://www.artdaily.com/imagenes/2009/11/12/Warhol-1.jpg" class="borde1" /></a><br /><span class="pie_g">Andy Warhol (1928 - 1987), 200 One Dollar Bills, 1962. silkscreen ink and pencil on canvas, 80 1/4 x 92 1/4 in. Est: 8,000,000—12,000,000 USD. Hammer Price with Buyer's Premium: 43,762,500 USD. Photo: Sotheby's</span><br /></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2009/11/12/Warhol-2.jpg" /><br /><br /><span align="top" class="pie_g">This photo shows a 1965 self-portrait by Andy Warhol. The painting belongs to Cathy Naso, who was 17-years-old when she got a part-time job as a receptionist at Warhol's Factory. The painting sold at Sotheby's for $6,130,500, soaring past the $1.5 million high estimate. AP Photo/Sotheby's.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>NEW YORK, NY.-</b> Tonight at <a href="http://www.sothebys.com/" target="_blank">Sotheby’s</a> in New York, Andy Warhol’s monumental masterpiece, 200 One Dollar Bills, brought a remarkable $43,762,500, soaring past the pre-sale estimate of $8/12 million. Competition was fierce. Auctioneer Tobias Meyer opened the bidding at $6 million and was immediately met with an almost unheard of response - a bid of $12 million, twice his opening bid. Five more bidders raised their paddles before the winning bid was cast by an anonymous purchaser bidding on the telephone. The Warhol was the top-selling lot in a sale of Contemporary Art that brought an outstanding total of $134,438,000, far-above pre-sale expectations (est. $67.9/97.7 million) and with all but two lots finding buyers. The sale was 98.6% sold by value and 96.3% sold by lot – the highest sold-by -lot total by lot in about twenty years, with only one exception. New auction records were established for Alice Neel, Jean Dubuffet, Juan Muñoz and Germaine Richier; as well as for a sculpture by Willem de Kooning, a neon by Bruce Nauman and a work on paper by Jackson Pollock.<br /><br />“The desire for great art is very strong,” said Tobias Meyer, Worldwide Head of Contemporary Art. “In a market that has been characterized by pent-up demand, we were able to offer fresh material with conservative estimates, and our sellers were rewarded with the remarkable results we saw this evening.”<br /><br />Anthony Grant, International Senior Specialist of Contemporary Art, noted, “The stars aligned tonight. With an offering of true icons of post war art, we saw bidding from all corners of the world, from both dyed-in-wool collectors and new clients alike. The Myers Collection in particular offered a great international sampling of artists – Richier, Gottlieb, Appel and Neel - and attracted a great depth of bidding, both private and institutional.”<br /><br />“Andy Warhol’s 200 One Dollar Bills is a hugely important work for American art history,” said Alex Rotter, Head of the Contemporary Art Department in New York. “Not only was it one of the starting points of Pop Art, but this picture had the perfect ownership history – directly from Warhol’s dealer to the legendary collector Robert C. Scull, and then from his estate sale at Sotheby’s to the current owner who acquired it in 1986 for $385,000. We are immensely gratified by the extraordinary price of more than $43 million achieved for the work this evening.”<br /><br />In addition to 200 One Dollar Bills several other works by Andy Warhol achieved strong prices tonight. A Self- Portrait from 1965 that the artist gave to Cathy Naso, a young receptionist at The Factory, sold for $6,130,500, more than tripling the pre-sale estimate of $1/1.5 million. More than seven bidders fought for the painting, which had been kept in a closest for 42 years, giving the colors a stunning quality and freshness.<br /><br />“I think I am dreaming,” said Ms. Naso, who attended the auction this evening but chose to keep a low profile. “I’m simply overwhelmed, both by the amazing price and also by all the attention this painting received. After all these years in the closet, the painting has now come out and has travelled to London, to Hong Kong and has been seen all over the world. Andy has made me famous for fifteen minutes and I’ve come to realize that fifteen minutes of fame is more than enough.”<br /><br />An Untitled 1962 drawing of a roll of dollar bills, also by Warhol, that came from the collection of Leonard Newman, eventually sold for $4,226,500 against a pre sale estimate of $2.5/3.5 million with seven bidders competing.<br /><br />Other works that achieved strong prices include Jasper Johns’ Gray Numbers (lot 29), which saw seven bidders drive the price to $8,706,500 (est. $5/7 million). Orange, Red, Orange (lot 47) by Mark Rothko from the Estate of Lucia Moreira Salles had not appeared on the market for nearly 30 years and fetched $3,386,500 (est. $2/3 million) after a contest involving six bidders. Trinité-Champs Elysées (lot 48) by Jean Dubuffet made $6,130,500 (est. $4/6 million) and set a new record for the artist at auction. Violins Violence Silence (lot 27) by Bruce Nauman established a new record for a neon work by the artist when it sold for $4,002,500, comfortably in excess of the $2.5/3.5 million estimate.<br /><br />The sale began with a group of 20 works from the Collection of Mary Schiller Myers and Louis S. Myers, noted collectors and arts benefactors from Akron, Ohio. Two world auction records were set by works from the Myers Collection: a record was set for American artist Alice Neel when six bidders competed for Jackie Curtis and Rita Red (Lot 2), which brought $1,650,500, well exceeding its estimate of $400/600,000, while Germaine Richier’s La Feuille (lot 4) was sought-after by six bidders, driving the price past the previous auction record and its estimate to bring $842,500. A new record for a Willem de Kooning sculpture was achieved by Large Torso, which sold for $5,682,500, well over the previous record of $3.9 million. Untitled XV, an abstract landscape from perhaps the most exuberant period in de Kooning’s rich and complex career, brought $6,130,500 against an estimate of $5/7 million. Donald Judd’s copper Untitled also exceeded expectations, bringing $1,650,500 against an estimate of $800,000/1.2 million.</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-38191880847495169152009-09-22T14:24:00.002+02:002009-09-22T14:27:42.778+02:00<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">The Stadel Museum will Show the First Monographic Exhibition on Sandro Botticelli<br /><br />artlover999888778888888</a><br /><br /></span><a href="http://www.artdaily.com/index.asp?int_sec=2&int_new=33430"><img src="http://www.artdaily.com/imagenes/2009/09/22/The-Stadel-1ch.jpg" class="borde" width="295" align="center" /></a><br /><br /><span class="pie">Sandro Botticelli (1444/45-1510), Idealized Portrait of a Lady, ca. 1480. Mixed technique on poplar, 82 x 54 cm. Frankfurt, Städel Museum. Photo: Städel Museum</span><br /><span style="font-size:130%;"><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2009/09/22/The-Stadel-2ch.jpg" /><br /><br /><span align="top" class="pie_g">Sandro Botticelli (1444/45-1510), Minerva and the Centaur, 1480 - 1482, canvas, 207 x 148 cm. Florenz, Uffizien. Photo: Uffizien, Florenz.</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>FRANKFURT.-</b> <a href="http://www.staedelmuseum.de/sm/" target="_blank">The Städel Museum</a> will show the first monographic exhibition on Sandro Botticelli (1444/45–1510) in the German-speaking world from 13 November 2009 to 28 February 2010. Taking the artist’s monumental Idealized Portrait of a Lady, one of the Städel Museum collection’s highlights, as its starting point, the exhibition presents numerous works from all productive periods of this great master of the Renaissance in Italy about 500 years after his day of death (17 May 1510). The exhibition opens with portraits and allegorical paintings that illustrate the degree of sophistication with which Botticelli drew on this highly developed genre and enriched it with new impulses. While the second chapter centers on his famous mythological representations of goddesses and heroines of virtue, the third part is dedicated to his abundant religious oeuvre. With a total of more than forty works by Botticelli and his workshop, the show presents a comprehensive selection of his work surviving worldwide. Forty further exhibits, among them works by such contemporaries as Andrea del Verrocchio, Filippino Lippi, and Antonio del Pollaiuolo, will allow to understand Botticelli’s precious creations in the historical context of their genesis. The presentation is supported by outstanding loans from the most important collections of paintings in Europe and the United States. These include the Uffizi Gallery in Florence, the Louvre in Paris, the National Gallery London, the Gemäldegalerie in Berlin, and the Old Masters Picture Gallery in Dresden, as well as the Metropolitan Museum in New York and the National Gallery of Art in Washington.<br /><br />Sandro Botticelli’s painting has become a landmark of Italian Renaissance. The delicate beauty, elegant grace, and unique charm of his frequently melancholic figures make his work the epitome of Florentine painting in the Golden Age of Medici rule under Lorenzo the Magnificent. Initially trained as a goldsmith and then apprenticed to Fra Filippo Lippi, Sandro Botticelli soon ranked among the most successful painters in Florence in the second half of the quattrocento next to Verrocchio, Ghirlandaio, and the Pollaiuolo brothers. From 1470 on, he received prestigious public commissions and established himself as a painter of large altarpieces. Throughout his life, Botticelli was in the ruling Medici family’s and their supporters’ good graces. Fulfilling their wishes for innovative decorative paintings, the master could not only rely on his personal knowledge of Florentine traditions and of ancient art, but also on definite suggestions and concepts from the circle of humanists gathered around Lorenzo de’ Medici. Held in equally high esteem as both a panel and a fresco painter, Botticelli enjoyed a high standing beyond his native Florence and was thus one of the artists summoned to decorate the walls of the Sistine Chapel in Rome by Pope Sixtus IV in 1481. It was particularly his much-discussed late work that brought out the characteristic features of his original style in an extreme manner. Guided by the art of drawing – the exhibition includes an outstanding selection of preparatory sketches – Botticelli followed his penchant for presenting his figures with sharp contours, strong movements, and abundant gestures, grounding his compositions on textures of lines and surfaces rather than on spaces and volumes. In this respect, his painting had already stood out against his competitors’ works and current theoretical demands in his early years. This is one of the reasons why art-historical research, which has devoted a vast number of major monographs and work studies to Botticelli since the beginnings of the twentieth century, still assigns a special position to the artist without fail.<br /><br />The starting point and center of the cross-genre exhibition is provided by a main work from the collection of the Städel Museum not only very well known in Frankfurt: the master’s idealized portrait of a young lady, who is probably to be identified with Simonetta Vespucci, the beloved jousting tournament lady of Lorenzo’s brother Giuliano de’ Medici. This portrait is less aimed at a true-to-life likeness of the subject than at the ideal of a woman characterized by perfect beauty and equally perfect virtuousness, an ideal also reflected in the poetry of that time. Such an ideal defines itself not least through its rapport with antiquity: thus, the beautiful female wears a piece of jewelry round her neck which is obviously based on an ancient cameo showing Apollo and Marsyas, which will also be on display in the exhibition. In the Städel Museum, Botticelli’s famous portrait of Giuliano from the National Gallery of Art in Washington will offer itself for comparison with his beloved Simonetta’s likeness. Both paintings make up the center of the first part of the presentation, which is devoted to Botticelli’s art of portraiture and, drawing on prominent examples, illustrates the interplay between social norm and artistic form as well as the different genre conventions of the male and the female portrait.<br /><br />The second chapter of the exhibition deals with Botticelli’s mythological pictures, which number among the artist’s most original creations. The Uffizi Gallery in Florence, which safeguards the most comprehensive and significant collection of works by the artist in the world, supports the exhibition in Frankfurt with one of its most popular works among others loans: the famous Pallas and the Centaur, one of Botticelli’s monumental mythological paintings, to be seen in the context of Medicean self-presentation. Together with Botticelli’s Primavera, it once adorned the walls of a bedchamber in a Florentine palace owned by the family of bankers. We see Pallas taming the wild centaur indulging in his passions through her wisdom and virtue. The control and cultivation of emotions was a central issue in ancient philosophy and – combined with Christian thought – of the Renaissance, too; among the painters of the time, Botticelli offered himself as a congenial interpreter for such subjects. The political dimension and the reference to the patron family are symbolically present in the form of two intertwined diamond rings on Pallas’s gown, which were an emblem of the Medici family. Another great female figure featuring in the Florentine artist’s oeuvre is the goddess Venus. His life-size Venus from the Gemäldegalerie in Berlin is a repetition of the central figure of (the unloanable) Birth of Venus in the Uffizi Gallery, which he isolated from the context of the scene and set off against a black background. This work is one of the first monumental nudes of postancient painting.<br /><br />The third and last section of the exhibition is devoted to Botticelli’s religious pictures. Next to his portraits and mythological works, Botticelli has owed his continuing fame to his Madonnas. According to theological thinking, Mary stands out as the ideal woman among the saints: she is the most virtuous and the most beautiful female, the bride of the Song of Songs. Besides many other works spanning from Botticelli’s earliest works still revealing the influence of his teacher Fra Filippo Lippi to examples of his late style, the exhibition in Frankfurt shows one of the artist’s most beautiful Madonnas: The Virgin Adoring the Sleeping Christ Child. The Madonna’s physiognomy of this painting from the National Gallery of Scotland in Edinburgh, whose brilliant colorfulness has only been uncovered through restorative measures some years ago, is rendered in the vein of the same female model which the painter developed for his idealized portraits and pictures of ancient goddesses. This chapter also includes a number of narrative pictures, such as a removed Annunciation fresco once to be found in the vestibule of the hospital of San Martino alla Scala in Florence and preserved in the Uffizi Gallery today. Not only the enormous size of the fresco (243 x 550 cm), but also its qualities as a painting testify to Botticelli’s extraordinary importance in this medium. Four panels depicting scenes from the life of St. Zenobius, an early bishop and patron of Florence, offer a further highlight, with which the exhibition ends. Usually scattered to museums in London, Dresden, and New York, they have been brought together for the first time in Frankfurt again. Ranking not only among his most significant late works, but also among his very last, the panels are to be considered as Botticelli’s legacy as an artist</td></tr></tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-80340924325781929192009-09-15T10:09:00.001+02:002009-09-15T10:11:44.713+02:00<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">Tiffany Exhibition Coming to VMFA in May Opens at Musée du Luxembourg in Paris<br /><br />artlover3223333999888888</a><br /><br /></span><table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr><td colspan="3" height="10"><br /></td></tr> <tr><td colspan="3" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td colspan="3" height="10"><br /></td></tr> <tr><td colspan="3" class="textomedianogris" valign="top" align="left"><a href="http://www.artdaily.com/index.asp?int_sec=11&int_new=33292"><img src="http://www.artdaily.com/imagenes/2009/09/15/Tiffany-1.jpg" class="borde1" /></a><br /><span class="pie_g">Image showing three lamps made by Louis Comfort Tiffany at the exhibition “Tiffany: Color and Light” which opened at the Musée du Luxembourg in Paris, France</span></td></tr></tbody></table><br /></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2009/09/15/Tiffany-2.jpg" /><br /><br /><span align="top" class="pie_g">VMFA Director Alex Nyerges (left) chats at the Musée du Luxembourg with Robin Nicholson, VMFA's deputy director for exhibitions, and Anna Eschatasse, executive assistant for special exhibitions at the Montreal Museum of Fine Arts. The three attended today's preview in Paris of the show of Louis Comfort Tiffany works that will be on view at VMFA in May. Photo: Jay Paul)</span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>PARIS.-</b> <a href="http://www.vmfa.state.va.us/" target="_blank">Virginia Museum of Fine Arts</a> Director Alex Nyerges, in Paris today for a preview of one of the most significant exhibitions ever mounted of works by the master of American glass, Louis Comfort Tiffany, called the show “dazzling.”<br /><br />“Here in Paris, the City of Light, the color and light of these Tiffany masterworks are spectacularly appropriate,” Nyerges said.<br /><br />The exhibition opens to the public at the Musée du Luxembourg Wednesday, Sept. 16, and continues through Jan. 10. It will then travel to the Montreal Museum of Fine Arts for a showing from Feb. 11 to May 2.<br /><br />The American première of “Tiffany: Color and Light” will be at the Virginia Museum of Fine Arts in Richmond May 29. VMFA will be the only American museum to show the exhibition, which will continue in Richmond through Aug. 15.<br /><br />“Tiffany: Color and Light” will be the first major exhibition to be shown at VMFA after the grand opening May 1 of the James W. and Frances G. McGlothlin Wing, now under construction.<br /><br />“The Tiffany exhibition will be the first of many international exhibitions in the expanded Virginia Museum of Fine Arts,” Nyerges said at the Paris preview.<br /><br />When the museum reopens, “gallery space will be 50 percent larger and special-exhibition space will double,” he said. “We will be able to accommodate much larger and more extensive special exhibitions than ever before in our history,” he said.<br /><br />The expansion will add some 165,000 square feet to VMFA's previously existing 380,000 square feet.<br /><br />“The Tiffany exhibition will occupy 8,500 square feet of the 12,000 square feet of special-exhibition space in the new wing,” he said.<br /><br />Conceived by the Montreal Museum of Fine Arts and organized in collaboration with VMFA and the Musée du Luxembourg, “Tiffany: Color and Light” celebrates the work of the renowned designer who achieved original and spectacular effects in hand-blown glass vessels, leaded glass windows and lamps, and other decorative objects.<br /><br />“Our own large treasure of works by Tiffany makes Richmond an ideal venue, and we are delighted to have been able to lend 14 important works to the show,” Nyerges said.<br /><br />The exhibition’s approximately 170 objects will include blown-glass vessels; lamps; leaded-glass windows; and decorative objects such as mosaics, bronzes and jewelry; along with paintings, watercolors, architectural elements and silver. Four of the windows, created for the Erskine and American United Church in Montreal, have never before been shown in the United States.<br /><br />Tiffany (1848-1933) took advantage of the new technology of electric lighting to reveal the jewel-like hues and sparkle of his leaded-glass lampshades. The wide popularity of his lamps made Tiffany’s a household name.<br /><br />“Visitors to the exhibition will see first-hand evidence of Tiffany’s love of exoticism, rich ornament, fine craftsmanship, and the abstract qualities of color that placed him squarely in many of the artistic movements of his time, from Arts and Crafts and the American Aesthetic Movement to Art Nouveau and Symbolism,” says Barry Shifman, VMFA’s Sydney and Frances Lewis Family Curator of Decorative Arts from 1890 to the Present.<br /><br />The exhibition’s curators are Rosalind Pepall, senior curator of decorative arts at the Montreal Museum of Fine Arts; Alice Cooney Frelinghuysen, who is the Anthony W. and Lulu C. Wang Curator of American Decorative Arts at the Metropolitan Museum of Art in New York; and Martin Eidelberg, professor emeritus of art history at Rutgers University in New Brunswick, N.J.<br /> <!-- Include virtual='/includes/sitio/guardian.asp'--> </td> </tr> </tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0tag:blogger.com,1999:blog-29475434.post-89430174631871681582009-09-14T11:30:00.001+02:002009-09-14T11:32:05.167+02:00<table width="956" border="0" cellpadding="0" cellspacing="0"><tbody><tr style="font-family: verdana; font-weight: bold; font-style: italic; color: rgb(255, 0, 0);" align="center"><td class="titulo"><span style="font-size:130%;"><a href="http://photosynth.net/view.aspx?cid=D574AC9C-0666-40BF-9A40-9CDCC2604A93">Nassau County Museum of Art to Present Norman Rockwell: American Imagist<br /><br />artlover88883338888</a><br /></span></td></tr> <tr><td valign="top" bgcolor="#feb700" height="1"><br /></td></tr> <tr><td height="10"><br /></td></tr> <tr><td> <img src="http://www.artdaily.com/imagenes/2009/09/14/Nassau-2.jpg" /><br /><br /><span align="top" class="pie_g">Norman Rockwell, Breakfast Table Political Argument (oil study) 1948, oil on acetate on board, 10 1/4" x 11", signed lower right and inscribed, "To Herb Herrick, Sincerely, Norman Rockwell" Saturday Evening Post cover oil study, October 30, 1948, study for America, illus 134, study for LNM #C445 © 2009 National Museum of American Illustration™ </span><br /><br /> </td></tr> <tr> <td class="textomediano" valign="top" width="956"> <b>ROSLYN HARBOR, NY.-</b> “I paint life as I would like it to be,” said the great illustrator Norman Rockwell. Seeing himself as a storyteller, Rockwell created the images that defined America and Americans, in this country and abroad. His enormous impact was achieved through the 321 covers he created for Saturday Evening Post from 1916 to 1963, including his famous Four Freedoms series of patriotic wartime paintings.<br /> <br />Norman Rockwell: American Imagist, opening at <a href="http://nassaumuseum.org/" target="_blank">Nassau County Museum of Art</a> (NCMA) on Sunday, September 20, 2009 and remaining on view through Sunday, January 3, 2010, is organized by American Illustrators Gallery, New York City and The National Museum of American Illustration, Newport, Rhode Island. The exhibition is curated for NCMA by Constance Schwartz and Franklin Hill Perrell and includes approximately 300 Saturday Evening Post covers and about 48 Rockwell paintings. The exhibition is sponsored by Sterling Glen Senior Living and David Lerner Associates with support from Wachovia Bank and Wells Fargo and Company, the New York State Council on the Arts and Arizona Beverages.<br /> <br />A poet of the American heartland, Norman Rockwell was born 115 years ago in Manhattan’s Upper West Side. He demonstrated drawing talent from his earliest years, sketching as literary works were read to him aloud. While in high school, he studied at the Chase School of Fine and Applied Art. Leaving school before graduation, he went on to attend the National Academy of Design, later transferring to the Art Students League. His earliest commission, at the age of 16, was for Christmas cards. He was then retained to illustrate a series of children’s books. Rockwell became the art director for Boy’s Life, the official publication of the Boy Scouts of America. His association with the Boy Scouts was to continue for a half century. Rockwell began freelancing his services to magazines, among them Life, Literary Digest and Country Digest. At 22, he began his legendary association with The Saturday Evening Post, the most prestigious magazine of that era. Rockwell’s first work for the Post was Mother’s Day Off which ran on the May 20, 1916 cover. From then, until 1963, he went on to produce 321 Post covers. It was these illustrations that came to be his greatest legacy.<!-- Include virtual='/includes/sitio/guardian.asp'--> </td> </tr> </tbody></table><div class="blogger-post-footer"><a href="http://www.autour-de-lart.com" target="_blank">Visit Autour-de-lart</a></div>Artloverhttp://www.blogger.com/profile/16581510722051583350noreply@blogger.com0