Null UNKNOWN ARTIST

Compositions

5 graphics, unsigned

…

Description

UNKNOWN ARTIST Compositions 5 graphics, unsigned Paper size: 72.5 x 50.8 cm each

542

UNKNOWN ARTIST Compositions 5 graphics, unsigned Paper size: 72.5 x 50.8 cm each

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Estim. 3 500 - 4 000 CHF

JUAN PABLO SALINAS TERUEL (Madrid, 1871 - Rome, 1946). "Orientalist scene". Watercolor on paper. Presents label on the back of the D'Arte Gallery, Italy. Signed and located (Rome) in the lower left corner. Measurements. 68 x 39 cm; 93 x 65 cm (frame). In this work realized in Rome, the author presents a scene of great crudeness when portraying a man restrained by chains. Both his turban and his clothes take us to the oriental world. A trend that was born in the 19th century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter, but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he participated in the exhibition organized by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third class medal in both. Around 1886 he moved to Rome to further his studies thanks to a scholarship granted by the Diputación Provincial de Zaragoza. There he attended the International Circle of Fine Arts, as well as the evening classes of the Chigi Academy. He also joined the Spanish artistic colony residing in the city, and worked with his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes of notable Tuscan influence, with works such as "Romeo and Juliet" or "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until he met, on a trip to Paris, the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great sales success in France, Italy, Central Europe, Russia and America. During these years he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which characters dressed in the fashion of the time appear in the context of luxurious interiors, meticulously detailed through a precious technique, which is recreated in the colorful description of clothes and lace, but, above all, in the masterful treatment of female flesh tones, deliberately sensual. Also at this stage Salinas made several series for the decoration of large salons. In addition to these themes, he also painted orientalist scenes and church interiors. In the last stage of his career there is a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.

Estim. 500 - 600 CHF

"JEAN CASTANIER"; JOAN CASTANYER (Blanes, 1903-Antibes, France, 1972). "Abstract composition". Oil on táblex. Signed in the lower right corner. Measurements: 24 x 40 cm; 35 x 52 cm (frame). Painter, decorator, film director, screenwriter and writer, Jean Castanier visited Paris as early as 1925. He maintained a close relationship with the great artists and intellectuals of his time, such as Luis Buñuel and Salvador Dalí. His entry into the history of cinema comes from his close collaboration with the filmmaker Jean Renoir. Unfortunately, his pictorial work is unknown. César Gonzalez-Ruano, a Spanish journalist and writer whom he met in the 1940s in Paris, says of him that "as a painter he was in a cubism evolved towards the realistic primitivism of Dalí". The University of California conserves thirteen works by Castanyer, received by this institution through a donation from a collector.

Ober, Hermann - 1920 Freilassing - 1997 ibid.German painter and graphic artist; from 1944 studied at the Academy of Applied Arts and the Academy of Fine Arts under Josef Hillerbrand in Munich; 1949 - 1951 studied under Slavi Soucek in Salzburg, who influenced him; in 1951 he became a founding member of the "Salzburger Gruppe"; 1951 - 1955 studied again in Munich and was a master student of Franz Nagel; is known for his idiosyncratic relief printing technique: Untitled (Abstract Composition), color etching / embossed print, numbered 250/159 in pencil below the image, signed and dated 1960, plate approx. 33.5 x 45.5cm, inscribed "59" in pencil lower right by an unknown hand, somewhat browned, some minimal staining to margins (larger stain to left margin), unframed (sheet size approx. 38 x 53.5cm)

Estim. 30 000 - 50 000 CHF

Albert CLOUARD (1866-1952) The mermaids Circa 1905 / 1906 Oil on canvas, signed lower right 81 x 65 cm EXHIBITIONS : Paris, Salon des Indépendants, 1906 Sale Atelier Albert Clouard. Rennes, December 9, 1990, catalog no. 19. BIBLIOGRAPHY : Bruno Belleil, Albert Clouard, Les derniers feux du symbolisme en Bretagne, Rennes, Ouest-France, 1992, reproduction page 99. PROVENANCE : Private Collection "We remember the sale of the Albert Clouard (1866-1952) studio in Rennes in 1990, when we discovered the existence of this virtually unknown painter nicknamed by Maurice Denis "the clandestine nabi", and a body of work remarkable for its Breton sources of inspiration and technique, placing him between the symbolists and the nabis. A lawyer from Rennes who became a poet and literary critic, Clouard frequented Symbolist and Bretonist circles in Paris. He had been drawing since he was a teenager, and began painting as a self-taught artist. In Perros-Guirec, where he made his home, he met Maurice Denis in 1897, who became his greatest friend. Through Denis, he met and became close to Paul Sérusier. Both encouraged him to paint and to make his work known, even though he had no ambition and tended to live as a recluse. Clouard found the landscapes of Perros-Guirec and the surrounding area the ideal backdrop for a host of themes, ranging from the legendary to everyday life. Having rented a cottage on the port of Ploumanach in 1903, he was familiar with the site of the Squevel rock, one of the jewels in the crown of the pink granite coast. He used it for various evocations, such as a bathing scene, a "Virgin of the Shores", mermaids trying to attract sailors, or landscapes. These surprisingly shaped rocks provide an unusual backdrop for a bathing scene in which the painter lines up seven naked women playing in the sea or standing on the rocks (Les Baigneuses, private collection). Clouard takes up the theme and site for a depiction of mermaids. He modifies the composition, placing himself above the rocks and waves and concentrating on the cove. This allows him to eliminate the horizon and sky and use the rocky masses above and below as a backdrop. A boat under sail at top left rounds the rocky headland to answer the calls of a naiad who has launched herself into the waves and is beckoning to the sailors. On either side of the cove, two groups of two naked women, bathers, observe the scene and converse. This may suggest that Clouard wanted to invert the traditional myth. The mermaid doesn't lure sailors to their doom, but rather saves them from the evils of civilization. The cove and the women symbolize a paradise on earth. But this theme is also a pretext for the nudes in the foreground, reminiscent of Maurice Denis. This first group also enables him to guide the viewer's gaze along a diagonal from bottom right to top left. The simplified rock masses are painted in an almost uniform pattern of small patches, with no volume or shadow effects. The rendering of the water in the foreground is reminiscent of the art of Japanese wood engravers, with its juxtaposition of colored patches encircled by the white of foam. With subtlety, Clouard uses the pink reflections of the rocks in the sea to link the different parts of his composition. We know of a small preparatory study, 34.5 by 25 cm (sale Rennes, Bretagne enchères, December 7, 2009, lot 117). The comparison shows how much work Clouard put into fine-tuning his composition, in particular the layout of the large diagonal, which corresponds plastically to the symbolic theme of call and attraction. Since the work's discovery in 1990, Bruno Belleil's book has shed light on the rich, singular personality of Albert Clouard, a talented "fellow traveler" of the Nabis, as this painting shows." André Cariou

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