Collection Highlights

Total Page:16

File Type:pdf, Size:1020Kb

Collection Highlights COLLECTION HIGHLIGHTS 14 April – 28 May 2021 Auguste Herbin (French, 1882–1960) Aoum II 1944 oil on canvas $110,000 65 x 100 cm (25⅝x 39⅜ in.) + 5% Import VAT signed and dated ‘herbin 1944’ (lower right); titled ‘ “aoum” 2’ (lower left) Pablo Picasso (Spanish, 1881-1973) Homme et femme nus 29 November 1971 crayon and India ink on paper $500,000 50.5 x 66.2 cm (19⅞ x 28⅛ in.) + 5% Import VAT signed, dated and numbered ‘Picasso 29.11.71. III’ (lower right) Alan Davie (British, 1920-2014) Improvisations on a Chagall Theme no. 1 December 1966 oil on canvas £95,000 213 x 172.5 cm (84 x 68 in.) signed and dated (on the verso) Richard Artschwager (American, 1923-2013) Over and out 1989 $195,000 acrylic on Celotex, in artist’s frame + 5% Import VAT 183.9 x 150.5 x 7.5 cm (72⅜ x 59¼ x 3 in.) signed, titled and dated (on the verso) Maurice de Vlaminck (French, 1876-1958) Bois à La Jonchère 1912 $350,000 oil on canvas + 5% Import VAT 81.3 x 100 cm (32 x 39⅜ in.) signed 'Vlaminck' (lower left) Victor Vasarely (Hungarian/French, 1906-1997) Farbwelt conceived in 1963 and painted c.1973 acrylic and tempera on canvas £150,000 130 x 92 cm (51⅛ x 36¼ in.) inscribed, signed, titled and dated ‘2621 VASARELY “FARBWELT” 130 x 92 1963 (HH)’ (on the verso) 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected] www.alonzakaim.com Léopold Survage (French, 1879-1968) Visage 1948 casein on panel €53,000 65 x 46 cm (25⅝ x 18⅛ in.) signed and dated ‘Survage. 48.’ (lower right) Arman (American/French1928-2005) Untitled (Paint Brushes) 1988 paint brushes and acrylic on canvas mounted on board £95,000 212 x 152 cm (83½ x 59⅞ in.) inscribed with the archive number ‘C396 ARCH 274’ (on verso) Damien Hirst (British, b.1965) The Four Seasons 2010 household gloss on canvas, in 4 parts £1,500,000 each: 172.7 x 193 cm (68 x 76 in.) each: signed, titled, dated 2010 and variously inscribed on the reverse Raoul Dufy (French, 1877-1953) Roses gouache and watercolour on paper £78,000 50.2 x 65.7 cm (19¾ x 25⅞ in.) + 5% Import VAT signed ‘Raoul Dufy’ (lower left) Raoul Dufy (French, 1877-1953) La Terrasse à Vallauris 1927 £480,000 oil on canvas + 5% Import VAT 80 x 100 cm (31½ x 38¾ in.) signed ‘Raoul Dufy’ (lower right) Jacques Lipchitz (American/French, 1891-1973) La Liseuse II conceived in September 1919; cast by the Modern Art Foundry, Long Island in the 1960s $1,050,000 bronze; edition 1 of 7 + 5% Import VAT height: 75.5 cm (29¾ in.) inscribed, dated, numbered ‘J Lipchitz Sept 1919 1/7’; marked with the artist’s thumbprint Henry Moore (British, 1898-1986) Mother and Child: Petal Skirt conceived in 1955; cast in 1955 bronze; edition 4 of 6 plus 1 artist’s proof by the Fiorini $98,000 foundry, London + 5% Import VAT 19 x 9 x 15.5 cm (inc. marble base) signed and numbered ‘Moore 4/6’ 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected] www.alonzakaim.com Henry Moore (British, 1898-1986) Working Model for Hill Arches 1972; cast by the H. Noack foundry, Berlin bronze; edition 3 of 9 plus 1 AP $895,000 57.5 x 108.5 x 68 cm (22⅝ x 42¾ x 26¾ in.) + 5% Import VAT signed and numbered ‘Moore 3/9’ with the foundry mark Pablo Picasso (Spanish, 1881-1973) Le Voyeur 1 August 1933 pen and brush and ink on paper $695,000 40.2 x 50.5cm (15¾ x 19⅞ in.) signed, located and dated ‘Picasso Cannes 1er Aôut XXXIII’ (lower centre); numbered ‘II’ (on the verso) Pablo Picasso (Spanish, 1881-1973) Deux nus et têtes d’hommes 29 July 1972 $595,000 India ink on paper + 5% Import VAT 46.8 x 63 cm (18⅜ x 24¾ in.) signed and dated ‘29.7.72. Picasso’ (lower left) Salvador Dalí (Spanish, 1904-1989) What the countryside will look like in 1987 1937 pen and ink on paper 26.7 x 36.8 cm (10½ x 14½ in.) £95,000 signed ‘Dalí’ (lower right); inscribed ‘Dali, Salvador F-8’, stamped ‘JAN 24 1937’ with American Weekly seal (on the verso) Georges Braque (French, 1882-1963) Nature morte à la grande cruche 1955 oil on canvas £350,000 54 x 73 cm (21¼ x 28¾ in.) signed ‘G Braque’ (lower left) Georges Braque (French, 1882-1963) Légumier, citron, oranges 1924 $395,000 oil on canvas + 5% Import VAT 21 x 65.3 cm (8¼ x 25¾ in.) signed and dated ‘G Braque 24’ (lower right) 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected] www.alonzakaim.com Salvador Dalí (Spanish, 1904-1989) Vue de Tolède, ange, deux cavaliers et personnages dans un paysage montagneux 1957 $215,000 ink on Strathmore paper + 5% Import VAT 76.5 x 101.7 cm (30⅛ x 40 in.) signed and dated ‘Dalí 1957’ (lower left) Alexander Calder (American, 1898-1976) Composition 1969 gouache on paper £90,000 57 x 77 cm (22½ x 30¼ in.) + 5% Import VAT signed, dated and dedicated ‘à Marie Paule + Jean Leymarie Calder 69’ (lower right) Maurice Estève (French, 1904-2001) Le Boischaut 1960 €230,000 oil on canvas + 20% VAT 65 x 100 cm (26 x 39½ in.) signed and dated ‘Estève 60’ (lower left) Victor Brauner (French/Romanian, 1903-1966) La récapitulation de l'amour 1934 £85,000 oil on canvas 50.2 x 61.2 cm (19¾ x 24⅛ in.) Alberto Giacometti (Swiss, 1901-1966) Igor Stravinsky (recto); Esquisse d’Igor Stravinsky (verso) 1957 $65,000 pencil on paper 42.9 x 32.4 cm (16⅞ x 12¾ in.) 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected] www.alonzakaim.com .
Recommended publications
  • Pablo Picasso, Published by Christian Zervos, Which Places the Painter of the Demoiselles Davignon in the Context of His Own Work
    PRESS KIT PICASSO 1932 Exhibition 10 October 2017 to 11 February 2018 ANNÉE ÉROTIQUE En partenariat avec Exposition réalisée grâce au soutien de 2 PICASSO 1932 ANNÉE ÉROTIQUE From 10 October to the 11 February 2018 at Musée national Picasso-Paris The first exhibition dedicated to the work of an artist from January 1 to December 31, the exhibition Picasso 1932 will present essential masterpieces in Picassos career as Le Rêve (oil on canvas, private collection) and numerous archival documents that place the creations of this year in their context. This event, organized in partnership with the Tate Modern in London, invites the visitor to follow the production of a particularly rich year in a rigorously chronological journey. It will question the famous formula of the artist, according to which the work that is done is a way of keeping his journal? which implies the idea of a coincidence between life and creation. Among the milestones of this exceptional year are the series of bathers and the colorful portraits and compositions around the figure of Marie-Thérèse Walter, posing the question of his works relationship to surrealism. In parallel with these sensual and erotic works, the artist returns to the theme of the Crucifixion while Brassaï realizes in December a photographic reportage in his workshop of Boisgeloup. 1932 also saw the museification of Picassos work through the organization of retrospectives at the Galerie Georges Petit in Paris and at the Kunsthaus in Zurich, which exhibited the Spanish painter to the public and critics for the first time since 1911. The year also marked the publication of the first volume of the Catalog raisonné of the work of Pablo Picasso, published by Christian Zervos, which places the painter of the Demoiselles dAvignon in the context of his own work.
    [Show full text]
  • Picasso Bleu Et Rose
    Picasso Bleu et rose Du 18 septembre 2018 au 6 janvier 2019 Musée d'Orsay, grand espace d’exposition 1 rue de la Légion d'Honneur 75007 Paris Direction de la communication Amélie Hardivillier, directrice de la communication Contact presse : Marie Dussaussoy, responsable du pôle presse Téléphone : 01 40 49 49 96 Courriel : [email protected] 1 2 Sommaire 1. Communiqué de presse 5 2. Press release 7 3. Comunicado de prensa 9 4. Parcours de l'exposition 11 5. Chronologie 40 6. Citations 44 7. Liste des œuvres 46 8. Editions 65 9. Autour de l'exposition 67 10. Visuels disponibles pour la presse 76 11. Mécènes de l’exposition 80 12. Partenaires Media 85 13. Musée partenaire 91 14. Informations pratiques 93 3 4 1. Communiqué de presse e Moscou 8 The Pushkin State Museum Museum State Pushkin The © , Arts Picasso. Bleu et rose cm, 95 147 x sur toile, uile © Succession Picasso 201 Picasso © Succession , 1905, h Musée d’Orsay, niveau 0 Grand espace d’exposition , Moscow 18 septembre 2018 – 6 janvier 2019 The Pushkin State Museum of Fine Fine of Museum State Pushkin The Arts Fine of boule la à L’Acrobate Cette exposition est organisée par l’Établissement public des musées d’Orsay et de l’Orangerie, et le Musée national Picasso-Paris, en collaboration avec la Fondation Beyeler, Bâle. L’exposition, premier partenariat de grande ampleur entre le musée d’Orsay et le Musée national Picasso-Paris, envisage de manière inédite les « périodes bleue et rose » de Pablo Picasso, moment déterminant dans sa création.
    [Show full text]
  • Picasso, Mallarmé, Papier Collé
    The Hope of an Anonymous Art: Picasso, Mallarmé, Papier Collé Trevor Stark • Revoir Picasso’s symposium • March 25th, 2015 In February 1935, Georges Braque joined a chorus of mostly chauvinistic voices to submit a “Testimony Against Gertrude Stein” for a special supplement of the journal Transition, denouncing her Autobiography of Alice B. Toklas. In contrast to other contributors such as Tristan Tzara, who heaped misogy- nist insults about Stein’s “literary kitchen” and “literary pros- titution,” Braque objected to the “egocentric deformation” wrought by the ensnarement of Cubism within the (auto-)bio- graphical mode.1 While no doubt indignant at being classed by Stein as a mere “grenadier” to Pablo Picasso’s “Napoleon,” Braque nevertheless did not seek to assert his aesthetic parity with Picasso, but rather emphasized Cubism as a project to dissolve aesthetic subjectivity in itself: “In the early days of Cubism, Pablo Picasso and I were engaged in what we felt was a search for the anonymous personality. We were inclined to efface our own personalities in order to find originality.”2 In strikingly similar language, the other main players echoed this claim for Cubism as a collective effort to become anonymous. In his book Juan Gris, Daniel-Henry Kahnweiler, 1. Pablo Picasso the Cubists’ first dealer and most important advocate, wrote Man with a Hat and a Violin that Cubism entailed “a deliberate gesture toward imperso- 1912 nal authorship, arising out of a conviction that the painter’s Cut and pasted newspaper, and ‘hand,’ his individual ‘handwriting,’ should not be visible in charcoal, on two joined sheets of paper, 124,5 x 47,9 cm 3 the finished product.” And, as Françoise Gilot recalls, Picasso Metropolitan Museum of Art explained Cubism in this way: “It was because we felt the temp- Jacques and Natasha Gelman Collection (1998.
    [Show full text]
  • Impressionist & Modern
    Impressionist & Modern Art New York | May 14, 2019 Impressionist & Modern Art New York | Tuesday May 14, 2019 at 5pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 New York Front cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Caitlyn Pickens Inside front cover: Lot 43 bonhams.com [email protected] +1 (212) 644 9135 Facing page: Lot 13 [email protected] Session page: Lot 33 PREVIEW To bid via the internet Inside back cover: Lot 8 Saturday May 4, 10am - 5pm please visit Rebecca Fattell Back cover: Lot 6 Sunday May 5, 12pm - 5pm www.bonhams.com/25482 +1 (917) 717 2752 Monday May 6, 10am - 5pm [email protected] REGISTRATION Tuesday May 7, 10am - 5pm Please note that telephone bids IMPORTANT NOTICE Wednesday May 8, 10am - 5pm must be submitted no later than Preeya Seth Please note that all customers, Thursday May 9, 10am - 5pm 4pm on the day prior to the +1 (917) 206 1617 irrespective of any previous activity Friday May 10, 10am - 5pm auction. New bidders must also [email protected] with Bonhams, are required to Saturday May 11, 10am - 5pm provide proof of identity and complete the Bidder Registration Sunday May 12, 12pm - 5pm address when submitting bids. Los Angeles Form in advance of the sale. Monday May 13, 10am - 5pm Telephone bidding is only Kathy Wong The form can be found at the back Tuesday May 14, 10am - 2pm available for lots with a low +1 (323) 436 5415 of every catalogue and on our estimate in excess of $1000.
    [Show full text]
  • Vente Publique Du 16 Octobre 2010
    VENTE PUBLIQUE DU 16 OCTOBRE 2010 Alain & Evelyne Morel de Westgaver SUCCESSEURS DE LA LIBRAIRIE SIMONSON vente oktober 2010:vente publique okt 2010 20-09-2010 14:02 Pagina 1 Alain & Evelyne MOREL de WESTGAVER SUCCESSEURS DE LA LIBRAIRIE SIMONSON VENTE PUBLIQUE du 16 octobre 2010 10h & 14h précises Salle Laetitia - Avenue des Grenadiers 48 - 1050 Bruxelles Exposition générale à la Salle Laetitia Le jeudi 14 octobre de 11h à 19h30. Le vendredi 15 octobre 2010 de 11h à 19h30. Téléphone à partir du 14 octobre 2010: (32) (0) 479 33 95 38 Enchérissez ou suivez la vente online www.liveauctioneers.com/browse/seller/aemorel Nous remercions chaleureusement Henri Ruttiens pour son aide précieuse dans la rédaction des notices du Surréalisme. CORRESPONDANCE: 24 Rue Henri Marichal - 1050 Bruxelles Tél.: (32) (0)2 640 22 53 Fax: (32) (0)2 706 23 06 E-mail: [email protected] Catalogue consultable et téléchargeable sur www.biblioroom.com vente oktober 2010:vente publique okt 2010 20-09-2010 14:02 Pagina 2 Illustrations visibles sur www.biblioroom.com Illustraties te bekijken op www.biblioroom.com Enlèvement des lots Dimanche «Salle Laetitia»: 10h30 - 13h30 A partir du mardi, sur rendez-vous. Rue Henri Marichal 24, 1050 Bruxelles Afhaling Zondag “Salle Laetitia”: 10u30 - 13u30 Vanaf dinsdag, op afspraak Henri Marichalstraat 24, 1050 Brussel Les ordres d’achat, communiqués par fax ou mail, doivent nous parvenir le vendredi 15 octobre à 20 h au plus tard. Les réservations de téléphone seront clôturées le vendredi 15 octobre à 20 h au plus tard. Opdrachten, via mail of fax, dienen ons ten laatste op vrijdag 15 oktober om 20 uur toegestuurd.
    [Show full text]
  • Phillips to Offer Works by Picasso and Matisse from the Collection of Anne Marie Aberbach and Rock & Roll Publisher Julian J
    PRESS RELEASE Phillips to Offer Works by Picasso and Matisse from The Collection of Anne Marie Aberbach and Rock & Roll Publisher Julian J. Aberbach Four Master Drawings to be Sold on 16 November in the Evening Sale of 20th Century & Contemporary Art in New York Pablo Picasso 1881-1973 Portrait de femme endormie. III, 1946 Estimate: $1,000,000 - 1,500,000 NEW YORK - 26 SEPTEMBER 2017 – Phillips is proud to announce the sale of works from the collection of Anne Marie Aberbach and music publisher Julian J. Aberbach this season. Best known as the founder of Hill and Range, the music publishing business that helped propel many stars such as Elvis Presley to international fame, Julian J. Aberbach and his wife Anne Marie formed a remarkable collection of impressionist and modern art. With notable provenance, the four master drawings by Pablo Picasso and Henri Matisse will be offered at auction in Phillips’ 20th Century & Contemporary Art Evening Sale in New York on 16 November 2017. Hugues Joffre, Senior Advisor to the CEO, said, “Phillips is honored to have been trusted with the sale of these exquisite exhibition drawings from the estate of Anne Marie Aberbach. Her husband Julian J. Aberbach helped to define 20th century culture through his work in bringing some of the most iconic musicians to the fore. The Aberbachs acquired works of art with equally discerning taste and these four important drawings are a testament to their informed eye for the best of modern art.” About the Works of Art An engaging image of lyrical calm and beauty, Henri Matisse’s Jeune fille dormant à la blouse roumaine dates from 20 December 1939 (illustrated right).
    [Show full text]
  • Figure À Part
    Dossier de presse Bissière Figure à part 18 décembre 2014 15 février 2015 Galerie des Beaux-Arts Place du Colonel Raynal 33000 Bordeaux bordeaux.fr Sommaire 3 Introduction, commissariat 4 Le parcours de l’exposition 8 Bordeaux et Bissière 9 Coup de projecteur sur un tableau et sa restauration : La Jeune fille au poisson 10 Une œuvre, une histoire 12 Biographie 14 Fortune critique et écrits de Bissière 15 Autour de l’exposition 17 Visuels disponibles pour la presse 20 Informations pratiques La Saveur d’Yquem, 1959 Tous les visuels de ce dossier sont disponibles pour la presse, sur demande à : [email protected] 2 Bissière, figure à part 18 décembre 2014-15 février 2015 Galerie des Beaux-Arts L’exposition « Bissière, figure à part », réalisée en coproduction avec le Musée de Lodève et grâce à l’étroite collaboration de la famille de l’artiste, est proposée à l’occasion du cinquantenaire de la disparition du peintre Roger Bissière (Villeréal, Lot-et-Garonne, 1886 - Boissierette, 1964). À ce titre, elle s’inscrit dans le cadre des commémorations nationales 2014 du Ministère de la culture. Originaire de la région Aquitaine et profondément attaché à son Lot natal, terre d’inspiration et de création autant que refuge au contact direct avec la nature, Roger Bissière débuta ses études artistiques à l’École des Beaux- Arts de Bordeaux avant de les poursuivre à Paris où il exposa dans les plus grandes galeries d’avant-garde. Bordeaux se devait donc d’honorer ce grand artiste encore mal connu du grand public bien qu’il ait représenté la France en 1964 lors de la Biennale de Venise : le succès avant l’oubli.
    [Show full text]
  • TOBEEN Un Poète Du Cubisme
    Dossier de présentation TOBEEN Un poète du cubisme 8 juin 16 sept. 2012 GALERIE TOBEEN A poet of cubism June 8th-September 16th COMMISSARIAT GÉNÉRAL Guillaume Ambroise, directeur du musée des Beaux-Arts de Bordeaux COMMISSARIAT SCIENTIFIQUE Françoise Garcia, conservateur en chef au musée des Beaux-Arts de Bordeaux Rosella Huber, docteur en biologie, chercheur en histoire de l’art Edo Huber, docteur en droit, chercheur en histoire de l’art ÉDITIONS Catalogue : Monographie de 250 pages, trilingue (français, anglais, espagnol), 312 reproductions. Editions 99 Uitgevers/Publishers Prix de vente : 28 € Posters, 4 modèles 40 x 60 cm, prix de vente 3 € Cartes postales, 8 modèles, prix de vente 0,50 € VISITES COMMENTÉES Visite commentée tous les mercredis et samedis à 16 heures. Tarif : entrée + 3 € PARCOURS PRIVILÉGIÉ Mercredi 13 juin 18 heures Françoise Garcia, commissaire de l’exposition, guide le public à travers un choix d’œuvres caractéristiques des différentes thématiques abordées par Tobeen CONFÉRENCE Mercredi 20 juin 18 heures « Tobeen et la Section d’or » Par Dominique Dussol, professeur d’Histoire de l’art, Université de Pau TOUS LES VISUELS DU DOSSIER SONT DISPONIBLES POUR LA PRESSE SUR DEMANDE PRÉSENTATION TOBEEN Un poète du cubisme L’œuvre de Félix Elie Bonnet dit Tobeen (Bordeaux 1880 – Saint-Valery-sur-Somme, 1938) est celle d’un peintre pétri de régionalisme qui enfourche les préceptes des avant-gardes. D’origine bordelaise, né en 1880, il fait partie du cercle du collectionneur et mécène Gabriel Frizeau. Il gardera des liens d’amitié avec certains de ces intellectuels et artistes entourant l’esthète bordelais, comme le critique, tôt disparu, Olivier Hourcade et surtout André Lhote avec qui il partage très vite un grand intérêt pour le cubisme.
    [Show full text]
  • Aperçues (Fragments D'un Journal)
    Document generated on 09/25/2021 12:14 a.m. Études françaises Aperçues (fragments d’un journal) Georges Didi-Huberman Toucher des yeux. Nouvelles poétiques de l’ekphrasis Article abstract Volume 51, Number 2, 2015 Drawn from Georges Didi-Huberman’s notebooks over a period of ten years, these entries ponder the image’s stubborn resistance and fragility, that which URI: https://id.erudit.org/iderudit/1031228ar opens up within it, calling for a gaze at the very limits of perception and DOI: https://doi.org/10.7202/1031228ar sensibility: odd details, equivocal distances and approaches, continuous and discontinuous signs, a deposition at work in the composition itself, framings See table of contents and bold stares, carnations and colours that turn out to be the painting’s true subject, an overshadowed dog in the foreground, unseen, a red thread made unforgettable by Vermeer. Ekphrasis responds to these glimpses, barely visible or conversely made visible by the image, just “strange enough to be seen and Publisher(s) inquired into.” The language that resonates with them is no longer a form of Les Presses de l’Université de Montréal discourse or expression but a “way out of discourse itself in order to describe something that seemed initially impossible to express”—ecstasies of phrasing. ISSN 0014-2085 (print) 1492-1405 (digital) Explore this journal Cite this document Didi-Huberman, G. (2015). Aperçues (fragments d’un journal). Études françaises, 51(2), 47–67. https://doi.org/10.7202/1031228ar Tous droits réservés © Les Presses de l’Université de Montréal, 2015 This document is protected by copyright law.
    [Show full text]
  • Divisionism - Heritage
    Divisionism - Heritage Van Gogh (1853 – 1890) went to live with his brother in Paris in 1886, where he fell under the influence of the Impressionists and Neo Impressionists. His palette lightened and became more colourful, and he adopted the technique of painting in small dabs of contrasting colours. van Gogh, Self Portrait 1887 Maximilien Luce (1858 – 1941) was a prolific French Neo- impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and Luce, Morning, Interior 1890 finally returning to Impressionism. Luce aligned with the Neo-impressionists not only in their artistic techniques, but also in their political philosophy of anarchism. Many of his illustrations were featured in socialist periodicals. Charles Angrand (1854 – 1926) was a French artist who gained renown for his Neo-Impressionist paintings and drawings. He was an important member of the Parisian avant-garde art scene in the late 1880s and early 1890s. He moved to Paris in 1882, becoming friends with Seurat, van Gogh, Signac, Luce, and Cross. In 1884 he co-founded Société des Artistes Indépendants, along with Seurat, Signac, Odilon Redon, and others. Angrand, The Western Railway at its Exit from Paris 1886 In 1887, L'Accident, his first Divisionist painting, was exhibited at the Salon des Indépendants. Angrand joined Seurat in plein air painting on La Grande Jatte island. It has been said that he had the "ability to distil poetry from the most banal suburban scene" Angrand's implementation of Pointillist techniques differed from that of some of its leading proponents.
    [Show full text]
  • Undressed: a Study of Louise Henderson's 'Les Deux Amies' (1953)
    Undressed: A study of Louise Henderson’s ‘Les Deux Amies’ (1953) Chelsea Nichols and Linda Waters Keywords: # Louise Henderson # cubism # nudes # material analysis # infrared imaging # modernist painting This article takes an in-depth look at Louise Henderson’s cubist-inspired painting Les Deux Amies (1953), which she painted upon her return to New Zealand after a year studying in Paris with cubist artist Jean Metzinger. Using a combination of formal analysis, infrared imaging and a study of her materials, we go beneath the surface of the painting to find new insights into the creation of this important work, which helped introduce European modernism to the conservative local art scene. In particular, this paper argues that “undressing” the figures in Les Deux Amies reveals a rich, hidden record of how Henderson worked through key questions about material construction, subject matter and composition at a crucial moment in her artistic career. 4 5 INTRODUCTION as a key work in her 1953 solo exhibition at the Auckland City Art Gallery, one of the earliest shows to decisively introduce a modernist, Two women sit together in a chair, their bodies intimately entwined. European style of painting into the local art scene. The striking, cubist- The figure on the left drapes her arm around her companion, holding inspired composition caught the attention of critics and artists like her hand with a firm grip. The right figure gazes down, and has Colin McCahon for its emotional acuity and freedom from traditional strong, angular features. These are no gentle Venuses. Their bodies depictions of space.1 Through works like Les Deux Amies, Henderson are fragmented into geometric facets, their mask-like faces hardened posed a challenge to the naturalism of the Regional Realist style that with acute black outlines.
    [Show full text]
  • Web Dossier De Presse Anglais.Indd
    Trois nus féminins allongés, 1935, signed and dated lower right : Le Corbusier juin 35 ; Salubra wallpaper on plywood-mounted paper ; 51,2 x 86,4 cm (detail) ; coll. Fondation Le Corbusier ; photo © coll. Fondation Le Corbusier ; © Adagp, Paris, 2015 14th November 2015 – 24th January 2016 2015–24th 14th November The DrawingGame Le Corbusier Musée Picasso, Antibes Musée Picasso, press kit press Le Corbusier, The Drawing Game 14th november 2015 – 24th january 2016 Musée Picasso, Antibes The exhibition is organised by the Musée Picasso, Antibes with the support of the Fondation Le Corbusier and in partnership with the Kunstmuseum, Münster.. academic advisor: Danièle Pauly Extract of the exhibition’s catalog Le Corbusier was famously fond of his draw-ings, which he kept conserve and make known this vast heritage, whose inventory – meticulously stored in two watch cabinets originally in the family entrusted first to Françoise de Franclieu, then to Danièle Pauly home in La Chaux-de-Fonds. Apart from a few major works like La – has made possible a long and detailed study of the drawings. Cheminée (The Mantelpiece), over the years he exhibited them spa- Many of the contributors to this catalogue – both distinguished ringly and rarely. In comparison, then, with the international public ‘Corbusians’ and young researchers – have been part of this ‘pa- he found as architect, theorist and even painter, the audience for tient research’. his drawings was fairly limited; they remained his ‘secret task’, at The Antibes exhibition, makes it clear that in the arts, too, Le once an intimate per- sonal zone and the key to his explorations.
    [Show full text]