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Impressionist & Modern
Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale. -
FLETCHER-THESIS.Pdf
Copyright by Kanitra Shenae Fletcher 2011 The Thesis Committee for Kanitra Shenae Fletcher Certifies that this is the approved version of the following thesis: Damage Control: Black Women's Visual Resistance in Brazil and Beyond APPROVED BY SUPERVISING COMMITTEE: Supervisor: Moyosore Okediji Cherise Smith Damage Control: Black Women's Visual Resistance in Brazil and Beyond by Kanitra Shenae Fletcher, B.A. Thesis 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 Master of Arts The University of Texas at Austin May 2011 Dedication To my beloved late aunt Aundra Thornton. Abstract Damage Control: Black Women's Visual Resistance in Brazil and Beyond Kanitra Shenae Fletcher, M.A. The University of Texas at Austin, 2011 Supervisor: Moyosore Okediji Jezebels, Mammies, and Matriarchs… These labels signify racialized and gendered social constructions that transnationally pervade the lives of black women. By contextualizing black women’s artwork as visual responses to social subjugation and objectification, one can discern the (literal) materialization of black feminist epistemology through artistic production and the aesthetic concerns that drive expressive work. This thesis therefore analyzes black Brazilian artist Rosana Paulino’s work as a visual form of resistance to three major “controlling images” of black women in Brazil as sexually promiscuous, domestic laborers, and unfit mothers. Her work represents not only the Brazilian black woman’s experience; it broadens and deepens the conversation on black women’s art in Africa and its diasporas, where similar stereotypes exist. Several v of Paulino’s personal statements and artworks address subjects that parallel those made by black women artists--María Magdalena Campos-Pons, Lorna Simpson, Zanele Muholi, and Wangechi Mutu, to name a few--whose artwork is also considered in this paper. -
A Cause for Reflection: Imagining Brazil at 100 Years of Independence
A Cause for Reflection: Imagining Brazil at 100 Years of Independence By Joseph M. Pendergraph Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History August, 2015 Nashville, Tennessee Approved: Marshall C. Eakin, Ph.D. Sarah E. Igo, Ph.D. “O Gigante: Vossos irmãoes na pátria nova passam tranquillos com riqueza largos annos… outro sistema de gouverno abraçam, que julgam mais propício para os humanos, porque nesse regimen, ali novo, dizem que manda simplesmente o povo.”1 “For my part I will say that, if my body leaves [Brazil], my heart stays, and that, if one day it should split, on it will be seen the words Brazil and Portugal, so intensely linked, so intimately intertwined, that it shall not be possible to separate one from the other.”2 1 Augusto de Lacerda, As duas patrias: poêma em homenagem a Portugal e Brasil por occasião do centenário da abertura dos portos brasileiros ao commércio do mundo (Porto: Oficinas do Commercio do Porto, 1908), 116 – The passage reads roughly, “The Giant: Your brothers in the new Pátria calmly live long years with richness / embracing another form of government that they believe to be more propitious for mankind / because in this new regime it is said that the people simply govern.” The timing of this quotation is key for understanding the critique. The work was published in 1908 just two years before the overthrow of the Portuguese monarchy. The decadence of the throne in the nineteenth century had led to intellectual criticism in the 1870s and republican revolts and conspiracies in the last years of the century. -
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. -
November Artists of the Western Hemisphere: Precursors of Modernism 1860- 1930 Dr
1967 ● September – November Artists of the Western Hemisphere: Precursors of Modernism 1860- 1930 Dr. Atl (Gerardo Murillo), Juan Manuel Blanes, Humberto Causa, Joaquín Clausell, Maurice Gallbraith Cullen, Stuart Davis, Thomas Eakins, Pedro Figari, Juan Francisco González, Childe Hassam, Saturnino Herrán, Winslow Homer, George Inness, Francisco Laso, Martín Malharro, John Marin, Vicente do Rego Monteiro, James Wilson Morrice, José Clemente Orozco, Amelia Peláez, Emilio Pettoruti, José Guadalupe Posada, Maurice Brazil Prendergast, Armando Reverón, Diego Rivera, Julio Ruelas, Albert P. Ryder , Andrés de Santa María, Eduardo Sivori , Joseph Stella, Tarsila do Amaral, Tom Thomson, Joaquín Torres-García, José María Velasco Elyseu d’Angelo Visconti Curator: Stanton Loomis Catlin ● December 1967 – January 1968 Five Latin American Artists at Work in New York Julio Alpuy , Carmen Herrera, Fernando Maza, Rudolfo Mishaan, Ricardo Yrarrázaval Curator: Stanton Loomis Catlin 1968 ● February – March Pissarro in Venezuela Fritz George Melbye, Camille Pissarro Curator: Alfredo Boulton ● March – May Beyond Geometry: An Extension of Visual-Artistic Language in Our Time Ary Brizzi, Oscar Bony, David Lamelas, Lía Maisonave, Eduardo Mac Entyre, Gabriel Messil, César Paternosto, Alejandro Puente , Rogelio Polesello, Eduardo Rodríguez, Carlos Silva, María Simón, Miguel Angel Vidal Curator: Jorge Romero Brest ● May – June Minucode 1 Marta Minujín ● September From Cézanne to Miró1 Balthus (Balthazar Klossowski de Rola), Max Beckmann, Umberto Boccioni, Pierre Bonnard, -
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. -
Chapter.11.Brazilian Cdr.Cdr
BRAZIL Chapter 11 Art, Literature and Poetry Brazil was colonized by Portugal in the middle of the 16th century. In those early times, owing to the primitive state of Portuguese civilization there, not much could be done in regard to art expression. The original inhabitants of the land, pre-Columbian Indigenous peoples, most likely produced various forms of art, but very little is known about this. Little remains, except from elaborate feather items used as body adornments by all different tribes and specific cultures like the Marajoara, who left sophisticated painted pottery. So, Brazilian art - in the Western sense of art - began in the late 16th century and, for the greater part of its evolution until early 20th century, depended wholly on European standards. 170 BRAZIL Pre-Columbian traditions Main article: Indigenous peoples in Brazil Santarém culture. Museu Paraense Emílio Goeldi Bororo Indian with feather headdress and body painting 171 BRAZIL The oldest known art in Brazil is the cave paintings in Serra da Capivara National Park in the state of Piauí, dating back to c. 13,000 BC. More recent examples have been found in Minas Gerais and Goiás, showing geometric patterns and animal forms. One of the most sophisticated kinds of Pre- Columbian artifact found in Brazil is the sophisticated Marajoara pottery (c. 800–1400 AD), from cultures flourishing on Marajó Island and around the region of Santarém, decorated with painting and complex human and animal reliefs. Statuettes and cult objects, such as the small carved-stone amulets called muiraquitãs, also belong to these cultures. The Mina and Periperi cultures, from Maranhão and Bahia, produced interesting though simpler pottery and statuettes. -
Emiliano Di Cavalcanti Ingressa No Campo Das Artes Quando a Revista Fon-Fon Publica Uma Caricatura De Sua Autoria, Em 1914
acervoroteiros de visita O Museu de Arte Contemporânea da Universidade oferece diversas atividades e serviços como de São Paulo (MAC USP) foi criado em 1963, disciplinas optativas, cursos de extensão cultural, 19 quando a Universidade de São Paulo recebeu de ateliês, visitas orientadas, site na internet e isita e não deve ser utilizada individualmente Francisco Matarazzo Sobrinho, Ciccillo, então biblioteca especializada. presidente do Museu de Arte Moderna de São A Divisão Técnico - Científica de Educação e Arte Paulo, o acervo que constituía o MAM SP. Além (DTCEA) concentra sua atuação no desse acervo transferido para a USP, Matarazzo e desenvolvimento de materiais educativos, na Acervo: Roteiros de V sua mulher, Yolanda Penteado, doaram ao novo formação de monitores, na organização de museu suas coleções particulares, às quais se exposições didáticas, em programas para públicos somaram aquelas efetuadas pela Fundação Nelson diversos, cursos à comunidade e em publicações ação Rockfeller e os prêmios das Bienais Internacionais que têm como objetivo geral favorecer um contato de São Paulo. mais efetivo entre a obra e público visitante, Hoje o MAC USP possui mais de 8 mil obras entre especialmente professores e estudantes. pinturas, desenhos, gravuras, fotografias, Dentro dessa proposta e com o patrocínio da Esta ficha é parte integrante do programa esculturas, objetos, instalações e trabalhos Fundação Vitae, a equipe de educadores produziu conceituais, constituindo um importante acervo de o Acervo: Roteiros de Visita. Esse material propicia arte moderna e contemporânea, relevante aos pesquisadores, professores e alunos recursos patrimônio cultural na América Latina. preparatórios e avaliativos de visitas ao museu Como museu universitário, o MAC USP é um local universitário. -
The First Year How Have Artists Responded to the US President’S First 12 Months in Office?
FOR MORE NEWS AND ANALYSIS, VISIT THEARTNEWSPAPER.COM U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXVII, NO. 297, JANUARY 2018 UK £8.50/US $14.99/RoW £10.50 PUTIN’S PULL THE YEAR AHEAD GOOGLE IT Artists react Where to go, what Director Amit Sood to Russian to see: our pick on how the Google president’s bid of the big shows, Cultural Institute for fourth term biennials and museum is driving visitors openings in 2018 to museums NEWS REVIEW REVIEW PAGE 14 PAGES 4-15 PAGE 19 Trump: the first year How have artists responded to the US president’s first 12 months in office? WASHINGTON, DC. It has been one year it’s making me less productive. Trump is since Donald Trump’s inauguration as the parasite that won’t stop sucking on the 45th president of the United States. my brain stem,” he says. Tomaselli first In that time, he has presided over a started incorporating pages from the profound degeneration in public life, New York Times in his art more than a actively discouraging trust in institu- decade ago, but this source material now tions and belief in the concept of truth, has renewed relevance, he says, as the and inciting hatred and division. The press is “the only institution still holding art world, a predominantly liberal col- Trump and his collaborators accounta- lective, has reacted with indignation to ble for their lies”. this degradation of democracy in the US. Many artists say that they now feel Many artists profess themselves to be impelled to make work that expresses their sense of dread. -
ART DECO and BRAZILIAN MODERNISM a Dissertation
SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirement for the degree of Doctor in Philosophy in Spanish By Patricia A. Soler, M.S. Washington, DC January 23, 2014 Copyright by Patricia A. Soler All rights reserved ii SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM Patricia A. Soler, M.S. Thesis advisor: Gwen Kirkpatrick, Ph.D. ABSTRACT I explore Art Deco in the Brazilian Modernist movement during the 1920s. Art Deco is a decorative arts style that rose to global prominence during this decade and its proponents adopted and adapted the style in order to nationalize it; in the case of Brazil, the style became nationalized primarily by means of the application of indigenous motifs. The Brazilian Modernists created their own manifestations of the style, particularly in illustration and graphic design. I make this analysis by utilizing primary source materials to demonstrate the style’s prominence in Brazilian Modernism and by exploring the handcrafted and mechanical techniques used to produce the movement’s printed texts. I explore the origins of the Art Deco style and the decorative arts field and determine the sources for the style, specifically avant-garde, primitivist, and erotic sources, to demonstrate the style’s elasticity. Its elasticity allowed it to be nationalized on a global scale during the 1920s; by the 1930s, however, many fascist-leaning forces co- opted the style for their own projects. I examine the architectural field in the Brazil during the 1920s. -
CATÁLOGO OSWALDO VIGAS 2006X.Cdr
" CRIATURAS DEL ASOMBRO " “I”,CRIATURA MÍTICA 100/80 cm., Óleo sobre lienzo, 2006. OSWALDO VIGAS en Galeria Medicci " CRIATURAS DEL ASOMBRO " X“ OSWALDO VIGAS en Galería Medicci En el marco de la celebración de nuestro décimo aniversario, hemos querido festejarlo con una presentación realmente de gala. Algo más que una exposición individual, un acontecimiento, un evento que perdure en la memoria del público. Y qué mejor para ello que una exposición del Maestro Oswaldo Vigas. Es nuestra ofrenda a ese gran público que nos ha acompañado en esta primera década. Arribamos a nuestro décimo aniversario. Parece que fuera ayer pero al mismo tiempo son largos años de arduo trabajo. Desde esos días iniciales, han sido muchos los artistas expuestos, la promoción de nuevos talentos, las exposiciones en el exterior, triunfos y desilusiones que van cubriendo el largo camino de estos primeros diez años. Nos presenta Oswaldo Vigas su más reciente creación. Colores fulgurantes, nuevos ambientes de donde emergen criaturas que llenan la escena. Que transportan al veedor a una nueva dimensión llena de fascinación y asombro. Son sus nuevas criaturas. Una exhibición que permanecerá en la reminiscencia de todos nosotros. Con fascinación y encanto, con asombro, por eso son las “Criaturas delAsombro”. Escriben en este catálogo Eduardo Planchart Licea quien nos demuestra su amplio conocimiento sobre la obra de Vigas y José Pulido, quien con ese especial sabor nos relata su amena entrevista con Oswaldo y Janine Vigas. La fotografía es de Renato Donzelli. Para Galería Medicci es motivo de gran satisfacción celebrar este aniversario con esta muestra individual del Maestro Oswaldo Vigas. -
VIGAS INFORMALISTA París 1959-1964 INFORMALISTA | 3
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.