Modern & Contemporary Art (1666) Lot 13

Modern & Contemporary Art (1666) May 14, 2020 EDT, ONLINE ONLY Lot 13 Estimate: $10000 - $15000 (plus Buyer's Premium) Oswaldo Vigas (Venezuelan, 1926-2014) Caraqueña Signed bottom left, signed again, titled and dated 1967 verso, oil on canvas. 31 1/4 x 19 1/2 in. (79.4 x 49.5cm) Provenance: The Artist. The Estate of Thomas McNemar, Lexington, Virginia (acquired directly from the above). NOTE: This work is accompanied by a certificate of authenticity from the Fundación Oswaldo Vigas, signed by Lorenzo Vigas. This lot is also accompanied by a black and white photograph of the painting signed on the reverse by the artist. Born in Venezuela in 1926, Oswaldo Vigas was an influential and prolific artist whose work portrays the myriad influences that comprised his unique and diverse life. Though he had always shown an interest in art, Vigas was formally educated as a doctor, graduating from medical school in Caracas in 1951. While attending university, he continued to take art classes, never truly surrendering his artistic impulses. Indeed, Vigas never practiced medicine and, only one year after his graduation, he was awarded a National Visual Arts Award, which included a plane ticket to Paris, where he relocated in 1952. There, he found rather rapid success and was chosen in 1954 to participate in the group show at the inaugural Venezuelan Pavillion at the XXVII Venice Biennale. He counted among his friends and contemporaries such luminaries as Fernand Léger, Pablo Picasso, Max Ernst and fellow Latin American artist Wifredo Lam. He was deeply influenced by Constructivism, Cubism and other European avant-garde movements, but he never lost sight of his South American heritage. In 1964, after twelve years in France, he returned to Venezuela, where he was named Cultural Director of the Universidad de Los Andes as well as Artistic Director of the Instituto Nacional de Cultura y Bellas Artes. Vigas took home with him his European influences, but he maintained a strong engagement with Pre-Colombian culture and material artifacts as well. Of particular interest were figurines depicting the Venus de Tacarigua, who is often shown with an exaggerated rectangular head. One can see the likely influence of these ancient Pre-Colombian forms in his geometric figurative abstractions of the 1960s, demonstrated here particularly well in Caraqueña (lot 13) and Merideña (lot 14). The four following works, all from the private collection of a friend of the artist, clearly show Vigas’s unique synthesis of European and Latin American influences in paintings that are wholly his own..

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Taller Libre De Arte · 1948 - 1952 Los Orígenes De Lo Contemporáneo
Taller Libre de Arte · 1948 - 1952 Los orígenes de lo contemporáneo portada final.indd 1 Untitled-2 1 12/10/1212/11/12 4:26 1:09 PM PM Untitled-2 2 12/11/12 1:09 PM Taller Libre de Arte · 1948 - 1952 Los orígenes de lo contemporáneo Exposición 13 de diciembre de 2012 al 3 de marzo de 2013 Lugar Odalys Galería de Arte (Sala 2) Odalys Galería de Arte C. C. Concresa, nivel PB. , local 115 Urb. Prados del Este, Caracas 1080, Venezuela Tefs: (+ 58-212) 9795942 (+ 58-212) 9761773 Fax: (+ 58-212) 2 9761773 E-mail: [email protected] E-mail: [email protected] www.odalys.com Tripa taller libre final.indd 1 12/10/12 5:46 PM Tripa taller libre final.indd 2 12/10/12 5:46 PM El Taller Libre · 60 aniversario La saga del Taller Libre de Arte, aquel irrepetible capítulo que alguna vez llamé y continúo repitiéndolo, el Período Flamígero del Taller Libre, cubrió apenas los cuatro años que median entre el viernes 9 de julio de 1948, fecha de su apertura en el 4° piso del edificio Miranda en la esquina de Mercaderes y el 14 de agosto de 1952 cuando, reunidos en el primer piso del edi- ficio Cipreses, frente a la fachada sur del Teatro Nacional, última escala del Taller luego de su breve tránsito por el edificio El Pájaro entre las esquinas de El Pájaro y Curamichate, asistimos a la inauguración de la gran Exposición de las Nuevas Generaciones de Pintores Venezolanos, coordinada como una suerte de rendición de cuentas, por los viejos pintores José Fernández Díaz (FEZ) y Rafael Rivero Oramas, los mismos tenaces e incansables activistas de la cultura que desde 1948, nos acompañaron como otros de los jóvenes de la parvada.
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Cata Logo Vigas Miami Web Layout 1
constructivista VIGAS París 1953-1957 constructivista París 1953-1957 VIGAS constructivista BÉLGICA RODRÍGUEZ Since he started out as an artist, Oswaldo Vigas has thought about abstractions, rather than images as such. These abstractions do not seek aesthetic justifications beyond themselves. Rather, they are self-contained artistic expressions that dia- logue with artistic and historical concepts in tune with explicitly aesthetic concerns which —when considered from the formalist critical approach that is so condem- ned today— situate his work as a unique expressive, representative and organic form of visual writing. In this sense, Vigas’ work cannot be reduced to a simple schema of abstraction. It is much more complex than that, since it has developed in line with multiple factors: instinctive perception, knowledge of the rules of pain- ting, and in response to the context the artist’s practice exists within. The decade of the fifties signaled a change in the life and work of this prolific Venezuelan artist. In 1952 he travelled to Paris, excited by the three prizes he had been awarded in the Salón Oficial Anual de Arte and by the success of his first retrospective show at the Museo de Bellas Artes de Caracas, the most important in Venezuela, which covered ten years of what would become a suc- cessful career as an artist. In Paris, a mecca for international artists at the start of the twentieth century, Vigas encountered a dynamic, active and cosmopolitan scene bubbling over with experimentation and the quest to develop new ap- proaches to art. There, Vigas discovered Picasso, his Cubism and many other trends, and created a new framework for his work by adapting abstract and Constructivist trends that he would channel into figurative and abstract works for which his signature style still provided an identifiable substratum.
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CATÁLOGO OSWALDO VIGAS 2006X.Cdr
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VIGAS INFORMALISTA París 1959-1964 INFORMALISTA | 3 In his house in Caracas, Oswaldo Vigas remained creative until his very last days. VIGAS INFORMALISTA Paris 1959-1964 This exhibition is his first individual show since he passed away, at the age of 90, on April 22, 2014. We may also call it his “first show”—not to suggest MAREK BARTELIK some kind of a causal break linked to this irreversible loss, but rather to stress his uninterrupted presence as a remarkable artist.1 One might argue, in fact, that for an individual as deeply committed to his practice and pro- cess as Vigas was during his life, each of his consecutive shows will remain a first one, for each represents the essence of his existence, which for the artist is making art. His drive to make art recalled that of great painters, such as Henri Matisse, who at an old age, continued to work even when confined to his bed, insisting: “Space has the boundaries of my imagina- tion.”2 And, like the French master, Vigas had an imagination that was un- questionably boundless. This exhibition is the second show at the Ascaso Gallery has devoted to a specific and distinct moment in his artistic career, this time to the years bet- ween 1959 and 1964, a period during which Vigas’s work achieved a new level of expressiveness, abstraction, and heterogeneity.3 Vigas’s paintings from that period reveal his interest in abstract expressionism and lyrical abs- traction, while remaining distinct from the works he created before and after. The period under investigation was marked by two important trips, which were, in fact, two returns: in late 1958, the artist came back to Paris after a prolonged stay in Venezuela; in mid-1964, he traveled back to his native country, where he resided for the rest of his life.
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Osw Aldo Vigas
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