P36-40 Layout 1

Total Page:16

File Type:pdf, Size:1020Kb

P36-40 Layout 1 Kuwait Times fetes 38young artists WEDNESDAY, APRIL 8, 2015 A photo shows Ghanaian artist El Anatsui’s art work entitled ‘Earth’s Skin’ on display at the Chaumont-sur-Loire Castle. The Chaumont-sur-Loire chateau, famous for its International Garden Festival, exhibits at its Centre of Arts and Nature from April 4 to November 1, 2015 the works of three twenty Ghanaian artist El Anatsui, Brazilian artist Tunga and Mexican artist Gabriel Orozco. — AFP Monet sees star rise again at New York auctions il paintings by impressionist master where they will be on view through May 1. Claude Monet are expected to be stars Auctioneers Christie’s, meanwhile, Oof the spring auction season in New announced Monday it would sell a Monet York, where Sotheby’s believes they could work-”Le parlement, soleil couchant”-for an fetch as much as $110 million. One of the expected $35-45 million on May 11 in New paintings is part of the famous “NymphÈas” York. The record for a single Monet was set in (Water Lilies) series the French artist painted June 2008 when Christie’s in London sold “Le at Giverny. Forecast to sell for an estimated bassin des NymphÈas” for $80.1 million. “The $30-45 million, this work has been held by a six works by Monet that we are privileged to collector since 1955, and has not been seen in present this May represent exactly what buy- public since 1945. ers are seeking at this moment: several of his The six Monet works have been in private most famous scenes, emerging from presti- collections; they are expected to generate a gious private collections and completely lot of enthusiasm on the auction block at fresh to the market,” said Simon Shaw at evening sales. The other works are “Le Palais Sotheby’s. Ducal” painted in 1908 in Venice; it is expect- “We’re undeniably witnessing an excep- ed to fetch $15-20 million; “Bassin aux tional moment for great works by Monet at nymphÈas, les rosiers” from $18-25 million; Sotheby’s. As new generations and new mar- and “Le Chemin d’Epinay, effet de neige” kets rediscover the master, the supply of (1875). It is expected to sell for $6-8 million. strong examples remaining in private hands In addition, “La Seine ‡ VÈtheuil” (1901), is is shrinking fast. The result is fierce competi- expected to bring in $6-8 million; it has been tion that leads to the results we have wit- in private hands since 1955 and has not been nessed recently at Sotheby’s.”—AFP sold at auction. And “Au Val Saint-Nicolas prËs Dieppe, matin” (1897), could fetch $3-4 mil- lion, the auction house said. These six works This combination of images released by Sotheby’s in New York shows a group of six paintings by Claude Monet. Paintings, clockwise from upper left: by the impressionist will be shown in London Nympheas, La Seine Vetheuil, Bassin aux nympheas; les rosiers; Au Val Saint-Nicolas pres Dieppe, matin; Le Palais Ducal; and Le Chemin d’epinay, effet April 10-14, before returning to New York de neige. — AFP Huge Swatch collection fetches Chinese tycoon Liu snaps US$6 million in Hong Kong up ancient vase for $15 million ne of the biggest private collections of Swatch watches artists were designing for Swatch, so he began collecting the in the world sold for more than US$6 million in Hong watches and related artwork. “Swatch is universal,” he said hinese tycoon Liu Yiqian splashed in yesterday’s auction at which he was would go to Liu’s Long Museum in Kong yesterday, smashing pre-auction estimates. The ahead of the auction. “You can have one for every day of the out nearly HK$114 million ($14.71 bidding by telephone, said Nicolas Chow, Shanghai. The 20-centimetre-tall (eight- O million) on an ancient vase at auc- Sotheby’s international head of Chinese inch) vase is part of a rare collection “superlot” comprising over 5,800 watches-featuring limited week. I often wear one.” Sotheby’s head of watches, Sharon C editions by artists including Keith Haring and a James Bond Chan, said that “serious luxury watch collectors” were also fans tion in Hong Kong yesterday-his latest ceramics and works of art. Chow said the crafted for the imperial court. At the 40th anniversary collection-was snared for over four times its of Swatch. Dunkel’s daughter and grandson accompanied him expensive purchase of a rare artefact unexpectedly high price indicated a same auction yesterday, a Qing emper- estimated sale price after intense bidding. A packed Sotheby’s to the auction. He also has a son and granddaughter. It is they originally from the mainland. The simple buoyant market and strong demand for or’s seal crafted from white jade was sold sales room saw three rivals tussle for the collection, which was who would benefit from the windfall, he said. octagonal piece, an 800-year-old Chinese antiques. for $13.5 million-nearly three times the finally sold for HK$46.7 million (US$6 million) to a phone bid- Southern Song Dynasty work tinted a “We are absolutely thrilled with the pre-auction estimate-to an undisclosed der. It had been expected to fetch US$1.3 million. The bidder milky blue, broke the guide price of $7.7 price for the vase,” he told reporters. “To buyer, Sotheby’s said. — AFP was identified by Sotheby’s as a “European institution” but the million at the sale by Sotheby’s. say it is a masterpiece would be an auction house said they could give no further details. Retired Taxi-driver-turned-financier Liu-chair- understatement.” Chow said the piece Luxembourg insurance broker Paul Dunkel, 68, who amassed man of investment company Sunline the watches over more than two decades, was tearful as he left Group-is one of China’s wealthiest men the sales room. He said the feverish interest in his labor of love and among the country’s new class of as it went on display leading up to the auction had been over- super-rich scouring the globe for art- whelming-crowned by a result beyond expectations. works. The 51 year-old broke the world “In the last two months... everybody’s been very interested auction record for Chinese porcelain in (in the collection) and that is my heart, my work,” an emotional April last year when he bought a Ming Dunkel told AFP. “The material result is for me not the most Dynasty wine cup-known as the “chicken important, (although) it’s very nice!” he added. An auctioneer cup”-for $36 million, which he subse- sealed the sale with an oversized transparent gavel, which was quently famously drank tea from. In November he snapped up a Tibetan created by Swatch for a charity auction in the 1990s and is part A woman looks at Swatch watches from the Dunkel col- silk tapestry for $45 million at Christie’s in of the collection. lection displayed by auction house Sothebyís in Hong Hong Kong, setting another world record Kong. — AFP Anonymous collector for any Chinese work of art sold by an Credited with breathing new life into the ailing Swiss watch “It’s for the children and the kids, to have a good life,” he international auction house. Liu, who also industry after its launch in 1983, Swatch quickly became a cul- told AFP when asked what he would do with the money. Hong owns his own museum in Shanghai, has tural phenomenon with its multi-colored plastic designs and Kong has a precedent for successful Swatch sales-in 2011 said he is on a mission to bring ancient largely affordable price tags. It is the world’s biggest watch another large collection sold for more than US$6 million to an Chinese artefacts back to the country. group although it saw net profit dive 26.6 per cent in 2014, anonymous Chinese collector at auction in the city. “I hope the “My museum and myself will partici- despite record sales. new owner continues to add to the collection, to show it,” said pate in bidding in future when we see The company attributed the profit dip to a massive invest- Dunkel. “For me, it’s too much work and it’s not possible to con- good artwork,” he said during a visit to Deputy Chairman for Sotheby’s Asia and the International Head of Chinese ment drive. Dunkel’s obsession started in the 1980s. Already a tinue.”— AFP Hong Kong last month to take up the Ceramics and Works of Art, Nicolas Chow, displays a ‘Guan’ octagonal vase from collector of abstract art, he realized that some of his favorite ownership of the 600-year-old tapestry. Liu beat seven other prospective buyers China’s Southern Song Dynasty (1127-1279 AD). — AFP.
Recommended publications
  • THE ART MARKET in 2015 Nota Bene : • All the Fine Art Auction Prices Quoted in This Report Include Buyer Fees
    THE ART MARKET IN 2015 Nota Bene : • All the Fine Art auction prices quoted in this report include buyer fees. • For the purposes of this report, Fine Art includes paintings, sculptures, installations, drawings, photographs, videos, tapestries and prints. It does not include antiques, anonymous cultural goods and furniture. • “Western Art Market” means all countries of the world, except China. • All $ symbols refer to the US dollars and all ¥ symbols refer to the Chinese yuan. The exchange rate used by AMMA for the Chinese market data is an average annual rate. • The two main categories of Chinese art are “Chinese Painting & Calligraphy” and “Oil Painting & Contemporary Art”. • “Chinese Painting & Calligraphy” refers to traditional Chinese art forms usually created with Indian ink (Chinese ink) on various substrates such as Xuan paper, silk or fans. These may take the form of calligraphy, with subjects like poems, words and wishes, or traditional Chinese painting, representing landscapes, people, birds and flowers. • The “Oil Painting & Contemporary Art” category refers to artworks created by Chinese artists who have adopted Western techniques and media (oil painting, photography, sculpture, installation, pencil drawing, gouache, watercolor, etc.) after the first canvas oil painting was shown in China in 1579. • Old Masters: works by artists born before 1760. • 19th Century Art: works by artists born between 1760 and 1860. • Post-War Art: works by artists born between 1920 and 1945. • Contemporary Art: works by artists born after 1945 Thierry Ehrmann, founder largely driven by globalisation of the mar- IN 2015 the WEStern ket, with strong economic growth and an and CEO of Artprice: intensification of demand at the high-end “Wan Jie, CEO of Artron group and founder of the Western market.
    [Show full text]
  • Venise L'élaboration D'un Mythe Du Xviiie Au Xixe S
    claire lingenheim lavelle TERMINALE | SPÉCIALITÉ histoire des arts académie de strasbourg Arts, ville, politique et société : le voyage des artistes en italie 1 du XVIIe au XIXe siècle _ Venise l’élaboration d’un mythe du XVIIIe au XIXe s. Chronologie Venise fascine. Au siècle des Lumières, carnaval, fêtes et cérémo- PRÉSENCE D’ARTISTES ÉTRANGERS À VENISE ET COURTE CHronologie POLITIQUE nies fastueuses s’efforcent de donner à la cité déclinante un air 1695 de gaieté. S’élabore ensuite un regard romantique sur la Venise Vanvitelli s’établit à Venise déchue dans les premières décennies du XIXe siècle. La profusion de 1712-1719 voyage de Kent en Italie tableaux, de gravures, de dessins puis de photographies, suscitée 1720 par la cité, est telle, qu’elle empêche le commun des voyageurs d’y début de la carrière de Canaletto poser un regard original. Étudier la perception de la Sérenissime, 1749-1752 voyage de Reynolds en Italie s’interroger sur les représentations de la cité, c’est analyser le pro- 1797 cessus de transformation et d’élaboration du mythe vénitien jusqu’à fin de la République l’aube du tourisme moderne au début du XXe siècle. 1798-1866 Venise autrichienne 1749-1752 Quel(s) regard(s) les artistes voyageurs portent-ils sur l’architecture et le voyage de Reynolds en Italie paysage lagunaire vénitien ? 1816 voyage de Byron à Venise Quelle inspiration les artistes, qui arpentent la cité, puisent-ils dans ce 1819, 1830, 1840 « Spectacle d’eau et de pierres » selon l’expression de l’historienne Lætitia voyage de Turner à Venise Levantis ? 1853, 1857, 1874 séjour de Manet 1879-1880 séjour de Whistler à Venise 1 1908 voyage de Monet à Venise L’invention du vedutisme Le genre de la vue de ville ou veduta, ses transformations et sa réception 1.
    [Show full text]
  • Jag Final Draft
    Copyright by Jason Alan Goldstein 2017 The Dissertation Committee for Jason Alan Goldstein Certifies that this is the approved version of the following dissertation: Translating Art into Words: The Work of Claude Monet in the Writings of Gustave Geffroy and Octave Mirbeau Committee: Richard Shiff, Supervisor Michael Charlesworth Kurt Heinzelman Linda Dalrymple Henderson Alexandra Wettlaufer Translating Art into Words: The Work of Claude Monet in the Writings of Gustave Geffroy and Octave Mirbeau by Jason Alan Goldstein Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2017 Dedication To my parents Acknowledgements In these rather uncertain times, I consider myself particularly fortunate to devote my life to the study and teaching of art and literature. Careful looking and close reading slow down our frenetic pace and encourage creative thought. I have found few things more rewarding than spending an unbroken hour in front of one of Claude Monet’s magnificent canvases. Experiencing Monet through the eyes and words of two of his staunchest critical supporters Gustave Geffroy and Octave Mirbeau has enriched my understanding of his paintings in ways I never could have imagined. I would have lacked the means to complete a project of this nature without the following magnanimous individuals and institutions. The libraries and the remarkable people who keep them running at the University of Texas at Austin deserve a great deal of credit for my ability to research and write this dissertation.
    [Show full text]
  • The-Art-Market-In-2019.Pdf
    Methodology The Art Market analysis presented in this report is based on results of Fine Art auctions that occu- red between 1st January and 31st December 2019, listed by Artprice and Artron. For the purposes of this report, Fine Art means paintings, sculptures, drawings, photographs, prints, videos, instal- lations, tapestries, but excludes antiques, anonymous cultural goods and furniture. All the prices in this report indicate auction results – including buyer’s premium. The $ sign refers to the US dollar and the ¥ sign refers to the Chinese yuan. The exchange rate used to convert AMMA sales results in China is an average annual rate. Any reference to “Western Art” or “the West” refers to the global art market, minus China. Chinese Art is divided into two main categories: • “Chinese Painting and Calligraphy” indicates traditional Chinese art such as works in ink on a variety of substrates including Xuan paper, silk and fans. “Chinese calligraphy” is focused on lettering, words, poems and wishes, whereas “Chinese painting” represents landscapes, people, birds and flowers. • “Oil painting and Contemporary art” indicates artworks created by Chinese artists who appropriated Western techniques and artistic media (oil painting, photography, sculpture, installation, drawing in pencil, gouache, watercolors, etc.) after an oil on canvas was pres- ented in China for the first time in 1579. Regarding the Western Art market, the following historical segmentation of “creative period” has been used: • “Old Masters” refers to works by artists born before 1760. • “19th century” refers to works by artists born between 1760 and 1860. • “Modern art” refers to works by artists born between 1860 and 1920.
    [Show full text]
  • Impressionnistes 3Ème Edition Du Festival Du 16/04 Au 26/09/2016
    DOSSIER DE PRESSE TOUS IMPRESSIONNISTES 3ÈME EDITION DU FESTIVAL DU 16/04 AU 26/09/2016 normandie-impressionniste.fr 1er rendez-vous culturel de la Normandie réunifiée : 450 événements SOMMAIRE Édito .......................................................................................................................................... 7 Présentation ............................................................................................................................. 8 4 questions à Jérôme Clément & Erik Orsenna ...................................................................10 Les grandes expositions ........................................................................................................11 Un Festival pluriel .................................................................................................................33 Parenthèse musicale .............................................................................................................51 Des rendez-vous festifs et participatifs ...............................................................................65 Médiation culturelle ..............................................................................................................68 Édition/Écriture/Cinéma ......................................................................................................72 Colloques et Conférences .....................................................................................................73 Mais aussi... ...........................................................................................................................74
    [Show full text]
  • Histoire Des Peintres Impressionnistes: Pissarro, Claude Monet, Sisley
    i^HJ . i (3) HISTOIRE DES Peintres Impressionnistes HISTOIRE DES Peintres Impressionnistes PISSARRO, CLAUDE MONET SISLEY, RENOIR, BERTHE MORISOT, CÉZANNE, GUILLAUMIN PAR THEODORE DURET TROISIÈME EDITION PARIS H. FLOURY, EDITEUR 4. RUE DE CONDK ET 2, RUE SAINT-SULPICE 1933 HISTOIRE DES Peintres Impressionnistes I Les peintres qui devaient s'appeler plus tard les Impressionnistes, dans leur jeunesse, lorsqu'ils se trouvaient encore inconnus, à Tétat d'élèves, étaient déjà d'instinct des indépendants, ils se sentaient entraînés à rompre avec les règles traditionnelles. Ils s'étaient en conséquence donné pour guides les hom- mes, qui avaient alors porté la peinture le plus avant dans l'observation directe de la nature et de la vie, -Courbet et Corot. Ce sont ces deux maîtres qu'ils ont d'abord suivis, chacun à part soi, sans s'être encore connus ou rencontrés. Pissarro et M^^® Morisot ont pro- fité des conseils de Corot, Renoir a peint un moment sous l'influence de Courbet, Cézanne a emprunté à Courbet, au début, sa tonalité et sa palette. Si l'on pouvait rassembler les toutes premières œuvres des hommes qui sont devenus les Impressionnistes, on verrait, avec des différences individuelles pointant déjà, un fond commun d'une même gamme, allant des procédés de Courbet à ceux de Corot. C'est alors que Manet survint. 1 Rien n'est plus difficile, quand des formes d'art ou des modes de penser ont obtenu le succès, que de se représenter la répulsion qu'ils ont d'abord pu causer. Maintenant que Manet est accepté comme un maître, on ne saurait s'imaginer 1 horreur et la colère réelle- ment causées par ses œuvres, à leur apparition.
    [Show full text]
  • RCEWA – Le Palais Ducal by Claude Monet Statement of the Expert Adviser to the Secretary of State That the Painting Meets Wave
    RCEWA – Le Palais Ducal by Claude Monet Statement of the Expert Adviser to the Secretary of State that the painting meets Waverley criteria two and three. Further Information The ‘Applicant’s statement’ and the ‘Note of Case History’ are available on the Arts Council Website: www.artscouncil.org.uk/reviewing-committee-case-hearings Please note that images and appendices referenced are not reproduced. EXECUTIVE SUMMARY Claude Monet (1840-1926) Le Palais Ducal, 1908 Oil on canvas 81 x 93 cm Claude Monet painted Le Palais Ducal during and after his visit to Venice in 1908. It shows the sun-lit Doges’ Palace with its reflection in the water reaching down the height of the canvas. As opposed to the campaigns of painting previously undertaken in London, Monet was seeking a rest from work on the water lily paintings and took the chance of a holiday with his wife Alice who chronicled the stay through daily letters home. While in Venice Monet began to paint and anticipated a second visit to follow in 1909, but the deterioration of Alice Monet’s health prevented the couple’s return. As with other campaigns, Monet anticipated that related works would be shown together although he was eventually to declare that ‘there was not a series among the views’. The Venetian paintings are, indeed, distinguished by a wider range of motifs and a smaller number of completed canvases than had been established with previous series. Both are attributable to Monet scouting for promising subjects as he extended his stay and which he imagined pursuing on a later visit.
    [Show full text]
  • Claude Monet (1840 – 1926)
    communiqué Claude Monet (1840 – 1926) 22 septembre 2010 – 24 janvier 2011 Galeries nationales, Grand Palais entrée Champs-Elysées www.monet2010.com #expomonet Cette exposition est organisée par la Réunion des musées nationaux et le musée d’Orsay, Paris. Elle est placée sous le haut patronage de Monsieur Nicolas Sarkozy, Président de la République française. Cette exposition est réalisée grâce au mécénat exclusif de Natixis. Pendant plus de soixante ans, Claude Monet a peint sans relâche, élaborant une œuvre qui incarne l’expression la plus pure de l’impressionnisme, pour constituer au début du XX e siècle un des fondements de l’art moderne. C’est l’ensemble de ce parcours riche et fécond que l’exposition des Galeries nationales réinterroge. Cette exposition monographique est la plus importante manifestation dédiée à l'artiste depuis près de trente ans, lorsque s'était tenue aux Galeries nationales en 1980 une rétrospective en forme d'hommage. Depuis, les recherches sur l'artiste se sont multipliées et ont mis en lumière des aspects moins connus de son œuvre. Orchestrée selon des grands axes thématiques et chronologiques, l'exposition retrace la carrière de Monet, des débuts des années 1860 jusqu'aux ultimes tableaux liés au cycle des Nymphéas du musée de l'Orangerie. Le jeune artiste choisit des sujets assez traditionnels, forêt et plage. Dans la Normandie de son enfance où Boudin puis Jongkind l’avaient initié à la peinture de plein air, il exécute des marines mais aussi des « effets de neige ». Puis à Paris et en banlieue, avec un accent particulier porté sur Argenteuil, dans les années 1870, ses paysages lumineux et colorés des bords de Seine reflètent le plein épanouissement de l’impressionnisme.
    [Show full text]