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Pages 4 Rotella, Lot 51 Pagine
LOT 42 In copertina | Cover Pagine 4 | Pages 4 Pagina 133 | Page 133 Baechler, lot 15 Rotella, lot 51 Turcato, lot 29 Retro copertina | Back cover Pagine 6-7 | Pages 6-7 Pagina 142 | Page 142 Arman, lot 25 Schifano, lot 30 Melotti, lot 33 Pagina 1 | Page 1 Pagine 8-9 | Pages 8-9 Pagina 143 | Page 143 Dorazio, lot 42 Music, lot 60 Cassinari, lot 39 SEDE - VIA SANT’AGNESE 18, 20123 MILANO ASTA ARTE MODERNA E CONTEMPORANEA 10 NOVEMBRE 2020 MILANO, VIA SACCHI 7 – presso LA POSTERIA 23 OTTOBRE - 4 NOVEMBRE, MILANO VIA SANT’AGNESE 18 0 (ORARIO 10.00-19.00 – ESCLUSO FESTIVI E 29 OTTOBRE) PREVIO APPUNTAMENTO 7-8-9 NOVEMBRE, MILANO, VIA SACCHI 7 (ORARIO 10.00-19.00) UNICA SESSIONE MARTEDÌ 10 NOVEMBRE 2020 ORE 16.00 LOTTI 1 - 243 PRESENTAZIONE TELEVISIVA TOP LOTS Lunedì 2/11 ore 21.30-23 canale 134 del digitale terrestre Martedì 3/11 ore 21.30-23 canale 134 del digitale terrestre Giovedì 5/11 ore 21.30-23 canale 134 del digitale terrestre Venerdì 6/11 ore 21.30-23 canale 134 del digitale terrestre OFFERTE SCRITTE FINO A LUNEDÌ 9 NOVEMBRE 2020 ORE 15.00 FAX +39 02 40703717 [email protected] È possibile partecipare in diretta on-line inscrivendosi (almeno 24 ore prima) sul nostro sito www.ambrosianacasadaste.com CONSULTAZIONE CATALOGO E MODULISTICA www.ambrosianacasadaste.com da venerdì 23 ottobre 2020 AMBROSIANA CASA D’ASTE / GALLERIA POLESCHI CASA D’ASTE - VIA SANT’AGNESE 18 20123 MILANO - TEL. +39 0289459708 - FAX +39 0240703717 www.ambrosianacasadaste.com • [email protected] LOT 51 338 1226703 5 MODERN AND CONTEMPORARY ART -
La Huella Majistral for Divi
Majestic Impression La Huella Magistral September 22 through October 28, 2017 Curated by Nitza Tufiño Jaime Montiel Rini -Templeton This exhibition features the works of artists printmakers who are members of the ''Consejo Grafico '' (The Graphic Council), a national Latinx organization of ''Talleres'' printmaking workshops. The portfolio of prints is by selected artists, who have created original works honoring a master printmaker who has influenced him or her. The featured artists are Rene Arceo; Pepe Coronado; Francisco X Siqueiros; Marianne Sadowski; Kay Brown; Poli Marichal; Juan R Fuentes; Richard Xavier Serment; Ramiro Rodriguez; Joe Segura; Paul del Bosque; Sandra C Fernandez; Maceo Montoya; Lezlie Salkowitz Montoya; Malaquias Montoya; Loanda Lozano; Nitza Tufiño; Betty Cole; Eliezer Berrios; and Marcos Dimas. In addition, during this event, there will be an adjoining exhibit featuring the work from members of the Dominican York Proyecto GRAFICA (DYPG) and Taller Boricua’s Rafael Tufiño Printmaking Workshop. Since 2000, a group of independent printmaking workshops began to form a coalition, the CONSEJO GRÁFICO, to "advance Latino printmakers' capacity and legacy in the United States." This beautiful series of prints constitutes their third Portfolio Exchange. The Portfolio, an edition of 30, gathers 19 participating artists, each contributing to print MAJESTIC IMPRESIONS 2017 1 The Portfolio's title, LA HUELLA MAGISTRAL: HOMAGE TO MASTER PRINTMAKERS, reveals the charitable purpose of the participating artists: to honor their teachers — master printmakers who taught, mentored, or inspired them. These artists share moral values and social ideals with those who inspired them: the defense of poor and oppressed peoples, solidarity with workers, a commitment to public education. -
PHOTO Libraryinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O
PHOTO LIBRARYinc. 305 EAST F O R T Y-S E V E N T H STREET • NEW YORK 17 • PL 2-4477 October 5> 1966 Miss Laura Gilpin P‘O. Box 1173 Santa Fe, New Mexico Dear Miss Gilpin: One of our clients is anxious to obtain as quickly as possible illustrative material, both in color and black and white, for a forthcoming book on Mexican art and architecture. I’m enclosing a list that you can use. as a guide; as you can see, our client Is most specific. Do you think you can mail us some of your photographs? We are looking forward to hearing from you. Very truly yours 1) Head of a coyote. Tequixquiac, Mexico State. About 10,000 B.C. 2) Small Seated Statue. Cairo de las Mesaas , Veracruz State. 300-800 A.D. Institute Hacional de Antropoligia e Historia, Mexico City. 3) Olmec Dwarf, and Mara Glyph. Cairo de las Mesaas, Veracruz State. 300-800 A D Institute Hacional de Antropologia e HLstorla, Mexico 6ity. 4) Head of a young Maya. Palenque, Chiapas State. Jgbout 683 A D Institute Hacional de Antropologia.....Mexico City 5) Facade of the Codz-Pop Building. Cabah, Tucutan State. 800-1200 A D 6) Temple of the Warriors. Chichen Itza, Yucatan State 800-1200 A D 7) Entrance to the Temple of the Warriors (see above for location) 8) Great Bail Court. Chichen Itza.... 9) Temple of Venus, with the Castillo in the background, Chichen Itza.... 10) Bearded ’Dancer*. Monte Alban, Oaxaca State. 200-100 B.C. 11) Zapotec Urn. -
Copertina Artepd.Cdr
Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo. -
Gallery of Mexican Art
V oices ofMerico /January • March, 1995 41 Gallery of Mexican Art n the early the 1930s, Carolina and Inés Amor decided to give Mexico City an indispensable tool for promoting the fine arts in whatI was, at that time, an unusual way. They created a space where artists not only showed their art, but could also sell directly to people who liked their work. It was a place which gave Mexico City a modem, cosmopolitan air, offering domestic and international collectors the work of Mexico's artistic vanguard. The Gallery of Mexican Art was founded in 1935 by Carolina Amor, who worked for the publicity department at the Palace of Fine Arts before opening the gallery. That job had allowed her to form close ties with the artists of the day and to learn about their needs. In an interview, "Carito" —as she was called by her friends— recalled a statement by the then director of the Palace of Fine Arts, dismissing young artists who did not follow prevailing trends: "Experimental theater is a diversion for a small minority, chamber music a product of the court and easel painting a decoration for the salons of the rich." At that point Carolina felt her work in that institution had come to an end, and she decided to resign. She decided to open a gallery, based on a broader vision, in the basement of her own house, which her father had used as his studio. At that time, the concept of the gallery per se did not exist. The only thing approaching it was Alberto Misrachi's bookstore, which had an The gallery has a beautiful patio. -
Checklist of Anniversary Acquisitions
Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1. -
The New York Observer January 10, 2000
The New York Observer January 10, 2000 Müller and Thompson: Adjuncts in Art By Mario Naves The paintings of Jan Müller (1922-1958) and Bob Thompson (1937-1966), the subject of the exhibition “Search for the Unicorn” at Lori Bookstein Fine Art, are so striking in their similarities that one initially assumes they were colleagues working in intimate correspondence towards a common goal: the establishment of a post-Ab- Ex school of painting that embraced the Arcadian, the mythic, and the figure. Coming upon “Jan Müller’s Funeral” (1958) at Bookstein, we presume that this somber canvas was Thompson’s homage to his mentor. Which is, in a sense, precisely the case, as is the notion that both men were adjuncts in art. Yet, in actuality, Müller and Thompson never met, a fact that comes as a surprise when comparing their respective work. Thompson did eventually befriend Müller’s widow, Dody, who sternly advised the young artist not to “ever look for your solutions from contemporaries—look at Old Masters.” He would heed this advice—Thompson’s paintings are replete with quotations from Masaccio, Piero della Francesca, Poussin and others—but did not ignore the juggernaut that was the New York School. This mix resulted in densely packed canvases that are flat and bright, cluttered and hasty, electric and ambitious. Thompson can’t be considered, as the painter Jay Milder described him, “a great synthesist;” the work is too unfocused to earn such a moniker and is notable more for its promise than its attainment. But the paintings Thompson left behind upon his untimely death of a drug overdoes in 1966 do form one of the most tantalizing, and frustrating, “What if’s?” in recent art history. -
A Finding Aid to the Bob Thompson Papers, 1949-2005, in the Archives of American Art
A Finding Aid to the Bob Thompson Papers, 1949-2005, in the Archives of American Art Kimberley Henze and Rihoko Ueno Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art. 2015 June 15 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1953-2003............................................................. 5 Series 2: Carol Thompson's Correspondence, 1971-2000...................................... 6 Series 3: Writings, 1949-1998................................................................................. -
State of the Art New York, Das Epizentrum Der Kunstwelt
Kunst. Werte. Leidenschaft. Galerienszene in Chelsea, Jean-Michel Basquiat im Marktcheck, George Brecht auf der Flucht State of the Art New York, das Epizentrum der Kunstwelt AC0120_001 1 30.03.20 14:28 BRANDNEU DER ARTPRICE KUNSTMARKTBERICHT 2019 Der Kunstmarkt wächst weiter: 2019 wurden weltweit ganze 550.000 Lose versteigert, die höchste jemals ver- zeichnete Anzahl von Kunstwerken, die in einem Jahr verkauft wurden. In Bezug auf den Umsatz verzeichnete der Kunstmarkt einen Rückgang von -14%, verzeichnete aber dennoch ein eindrucksvolles Gesamtvolumen von 13,3 Milliarden US-Dollar. Wichtigster nationaler Markt ist nach wie vor die USA (35%), dicht gefolgt von China (31%). Die Rate weltweit unverkauf- ter Lose blieb mit 38% vollkommen stabil, ebenso wie der Gesamtpreis- index, der um + 0,48% stieg. Diese und viele weitere Informati- onen fi nden Sie im Detail im Kunst- marktbericht 2019 von Artprice. Ab sofort auf Artprice.com als kostenloser Download verfügbar! WELTMARKTFÜHRER FÜR KUNSTMARKTINFORMATIONEN T : +33 (0)4 72 42 17 06 Artmarket.com, Geschäftsbezeichnung Artprice.com, ist im Eurolist by Euronext Paris (PRC 7478-ARTF) geführt AC0120_002 2 30.03.20 13:34 EDITORIAL/CONTENT Kniefall und Verfall In Zeiten von Corona verlagert sich das Galerien und Auktionshäuser ist dies Geschäft mit der Kunst ins Internet. New York. Die USMetropole mit ihrem Der Anbieter Artsy boomt und lässt Wettbewerbslärm bildet das Epizent- sich seine Dienste − laut einem inves- rum des Kunstmarkts und der künst- tigativen Artikel von Paddy Johnson lerischen Produktion. Auf die enorme in „The Art Newspaper“ − noch mehr Dichte an überall in New York verstreu- als vor der Krise kosten. -
Frida Kahlo I Diego Rivera. Polski Kontekst
Polski kontekst I Polish context SPIS TREŚCI TABLE OF CONTENTS 9—11 7 Jacek Jaśkowiak 135—148 Helga Prignitz-Poda Prezydent Miasta Poznania I President of the City of Poznań Diego Rivera – prace I Diego Rivera – works Gdyby Frida była wśród nas… I If Frida were among us… 187—187 Helga Prignitz-Poda 19—19 Alejandro Negrín Nickolas Muray Ambasador Meksyku w Polsce I Ambassador of Mexico to Poland Frida Kahlo i Diego Rivera w Polsce: uniwersalizm kultury meksykańskiej 195—195 Ariel Zúñiga Frida Kahlo and Diego Rivera in Poland: the Universal Nature of Mexican Art O Bernice Kolko… I On Bernice Kolko… x1— 13 Anna Hryniewiecka 211—211 Dina Comisarenco Mirkin Dyrektor Centrum Kultury ZAMEK w Poznaniu I Director of ZAMEK Culture Centre in Poznań Grafiki Fanny Rabel (artystki w wieku pomiędzy sześćsetnym Frida. Czas kobiet I Frida. Time of Women i dwutysięcznym rokiem życia) I Graphic works by Fanny Rabel (artist between 600 and 2000 years of age) 17—17 Helga Prignitz-Poda Frida Kahlo i Diego Rivera. Polski kontekst. Sztuka meksykańska w wymianie kulturowej 135—224 Diego Rivera Frida Kahlo and Diego Rivera. Polish context. Mexican Art in Cultural Exchange O Fanny Rabel I About Fanny Rabel 17— 52 Elena Poniatowska 135—225 Frida Kahlo o Fanny Rabel, sierpień 1945 Frida Kahlo Frida Kahlo about Fanny Rabel, August 1945 0 53—53 Diego Rivera 227—227 Helga Prignitz-Poda Frida Kahlo i sztuka Meksyku I Frida Kahlo and Mexican Art Kolekcja prac z Wystawy sztuki meksykańskiej z 1955 roku w zbiorach Muzeum Narodowego w Warszawie I Works from the 1955 Exhibition -
Catalogo 144 TENDENZE INFORMALI
COMUNE DI BRESCIA CIVICI MUSEI D’ARTE E STORIA PROVINCIA DI BRESCIA ASSOCIAZIONE ARTISTI BRESCIANI TENDENZE INFORMALI DAGLI ANNI CINQUANTA AI PRIMI ANNI classici del contemporaneo SETTANTA NELLE COLLEZIONI BRESCIANE mostra a cura di Alessandra Corna Pellegrini 144 aab - vicolo delle stelle 4 - brescia 22 settembre - 17 ottobre 2007 orario feriale e festivo 15.30 - 19.30 edizioni aab lunedì chiuso L’AAB è orgogliosa di inaugurare la stagione 2007/2008 con una prestigiosa esposizione, di rilievo certamente non solo locale, che propone opere di artisti fra i più rappresentativi dell’Informale. La mostra prosegue la fortunata serie “Classici del contemporaneo” dedicata al collezionismo della nostra provincia, che ha già proposto artisti come Kolàr, Demarco, Fontana, Munari, Birolli, Dorazio, Vedova, Fieschi, Adami, Baj ed esponenti della Nuova Figurazione. La curatrice della rassegna, la storica dell’arte Alessandra Corna Pellegrini, ha selezionato un nucleo essenziale di opere (34) che rappresentano esempi molto significativi dell’esperienza e del linguaggio di un movimento pur tanto complesso e così difficile da circoscrivere come l’Informale e dimostrano l’alta qualità delle collezioni bresciane, sia pubbliche sia private. L’impegno dell’AAB, scientifico organizzativo finanziario, può ben essere documentato dall’importanza internazionale degli autori proposti, da Dubuffet Mathieu Schneider a Afro Basaldella Corpora Dorazio Fontana Morlotti Santomaso Scanavino Scialoja Tancredi Turcato. L’esposizione, come è prassi costante dell’Associazione, -
Jazzamoart El Estado Chileno No Es Editor
EXCELSIOR MIÉrcoles 27 DE MAYO DE 2015 Foto: CortesíaFoto: INAH PATRICIA LEDESMA B. TEMPLO MAYOR, NUEVO TIMÓN La arqueóloga Patricia Ledesma Bouchan fue designada ayer como nueva titular del Museo del Templo Mayor, en sustitución de Carlos Javier González. Así lo anunció el Instituto Nacional de Antropología e Historia mediante un comunicado, en el que destacó su labor en temas relacionados “con la gestión del patrimonio arqueológico y la divulgación del conocimiento científico”. [email protected] @Expresiones_Exc Foto: Cortesía Nuria Gironés El Estado chileno no es editor “Chile tiene que hacerse cargo de un problema estructural que se arrastra desde la dictadura militar (1973-1990), cuando se destruyó el tejido cultural por la censura”, dice en entrevista Marcelo Montecinos, presidente de la Cooperativa de Editores de La Furia. >4 Reaparece Jazzamoart Una obra de carácter vibrante, que a ritmo de pinceladas “se hace lumínica y cromática”, es lo que ofrecerá el pintor y escultor mexicano Francisco Javier Vázquez, mejor conocido como Jazzamoart, Revelan la trama acerca de la sustracción, en 1904, del llamado en su exposición Improntas, que M A PA se presenta a partir de ayer en el Lienzo de Tlapiltepec, patrimonio “extraviado” de México > 5 Museo Dolores Olmedo. >6 Foto: Cortesía Fundación Alfredo Harp Helú Oaxaca FOTOGALERÍA ESPECIAL Exposición Visita MULTI Galería Throckmorton Recintos celebran ¿Qué me pongo? MEDIA Exhiben en Nueva York imágenes Recomendaciones para Marcelino Perelló. 2 poco comunes de Frida Kahlo. la Noche de los Museos. 2: EXPRESIONES MIÉRCOLES 27 DE MAYO DE 2015 : EXCELSIOR ¿Qué me pongo? PALACIO DE CULTURA BANAMEX MARCELINO PERELLÓ El desastre que viene Retorna La jungla sudamericana no es únicamente el pulmón de la Tierra.