Null Grimm, Gerd
1911 Karlsruhe - 1998 Freiburg. Studied under Schnarrenberger a…

Description

Grimm, Gerd 1911 Karlsruhe - 1998 Freiburg. Studied under Schnarrenberger and Hubbuch at the Karlsruhe Art Academy and at the School of Arts and Crafts in Nuremberg, moved to the USA as a draughtsman and commercial artist, settled in Freiburg from 1951. Watercolor/charcoal pencil. Female semi-nude, signed lower left. 61 x 42.5 cm. (82.5 x 63 cm). Pass. R. Lit.: 1.

933

Grimm, Gerd 1911 Karlsruhe - 1998 Freiburg. Studied under Schnarrenberger and Hubbuch at the Karlsruhe Art Academy and at the School of Arts and Crafts in Nuremberg, moved to the USA as a draughtsman and commercial artist, settled in Freiburg from 1951. Watercolor/charcoal pencil. Female semi-nude, signed lower left. 61 x 42.5 cm. (82.5 x 63 cm). Pass. R. Lit.: 1.

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Estim. 220 - 400 EUR

Wilhelm Hüffmeier, 1881 Osnabrück - Karlsruhe,studied at the KA Karlsruhe, master student ofJulius Bergmann, summer landscape with a youngshepherdess and sheep, left. Signed at the bottom, oil/board, approx. 33.5 x 70 cm, old label on the back with illegible inscription

Estim. 1 500 - 1 800 EUR

PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Harlequin's Head", 1928. Drypoint on laid paper, copy 9/12. Signed in plate: PG 28. With hand-painted period frame. Presents some lack of polychrome. Some stains on the paper. Measurements: 18 x 13 cm (plate); 22 x 17 cm (paper); 43 x 37 cm (frame). Rare print by the artist. Only one edition of 12 numbered copies was made of this work. The Pablo Gargallo Museum has the original plates of the only four drypoint engravings by Gargallo (Self-Portrait, Harlequin's Head, Female Nude and Ballerina). Pablo Gargallo is considered the precursor of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training, in the workshop of the sculptor Eusebio Arnau and in the School of La Lonja, with Venancio Vallmitjana as his main teacher. At the height of Modernism in Barcelona, Gargallo frequented the gatherings of "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. That is why his first works are influenced by Modernism, as is the case of the decoration of Barcelona buildings that he made in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Cruz y San Pablo or the Palau de la Música. In 1903 Gargallo obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From this moment on his style acquires a very personal dimension, derived from his interpretation of cubism, based on the search for a formal synthesis of the figure in geometric planes always fluid, replacing conventional materials with wrought iron sheets, and introducing a new sculptural language by introducing the void as volume and giving his figures a great expressive dramatism. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.

Estim. 9 000 - 10 000 EUR

CARMELA GARCÍA (Lanzarote, 1964). "Women", 2000. Photograph. Provenance: Important Spanish Collection. Size: 130 x 150 cm. As a central element of her works, in "Women" Carmela Garcia presents us with the need to rethink the world from a gender perspective which does not only imply the possibility of a different future, but also means in the first instance, a scenario of vindication around the consideration of the feminine where, in the words of the artist, it is necessary "A kind of deconstruction of what patriarchal society has established about what women are and should be, and a reconstruction of a feminist ideal of the world, where they are liberated from constraints". In this case, the powerful symbolism of the image with the iconic Barbie doll subjected to the scorching fire of a kitchen cooker directly questions the spectator in relation to the role in which women have traditionally been pigeonholed in a pejorative way, at the same time as it launches a message about the need to put an end to the dictatorship of beauty canons that are increasingly disconnected and distant from the reality of women. Born in Lanzarote in 1964. Carmela Garcia began her studies of photography in Madrid and Barcelona, until 1998, when she began to show her work to the public. From the beginning, she has combined her social interests in photography, through literary, plastic and audiovisual references, creating an artistic corpus about the stereotyped image of women in society and the need to rethink and reformulate their role in the world. After producing series as representative as "Chicas, deseos y ficción" or "Constelación", Garcia was selected in 2005 among the hundred best Spanish photographers in the list elaborated by Exit, something that confirmed the tendency of growing importance in the works elaborated in the last years. In recent years she has been working on video works to revise various stereotyped images of women. She has become the most recognised Canarian artist of the last decade thanks to a profoundly feminist discourse, through which she represents an idealised world where men are absent and women remain outside the traditional male gaze. Her work has been shown at the Centro de Arte Reina Sofía in Madrid (Espacio Uno), the Centro de Fotografía de Coímbra, the MUSAC in León, the Centro Atlántico de Arte Moderno CAAM in Gran Canaria, the IVAM in Valencia, in the group exhibition El real viaje Real /The Real Royal Tryp at PS1, Contemporary Art Center at MOMA (New York) curated by Harald Szeemann,3 at the MOT Kanazawa in Japan, the University of Salamanca and the European House of Photography in Paris, among others.4567. He has exhibited at the Juana de Aizpuru galleries in Seville and Madrid, and in 2003 at the Altamira Gallery in Gijón.8910 Together with the Juana de Aizpuru gallery, he has attended international fairs such as Arco Madrid, Art Basel, Paris Photo, Frieze London, etc.

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