Null CANALETTO. Le Procuratie Nuove e San Giminiano.
Etching, 209x143 mm. Small …

Description

CANALETTO. Le Procuratie Nuove e San Giminiano. Etching, 209x143 mm. Small margins. Bottom center: 'The Procuratie niove and S. Ziminian V'. Bottom left: 'A. Canal f'. State I/II. Good condition. It is part of the splendid series of 31 views that Canaletto engraved between 1740 and 1746.Succi: "The artist's eye dwells carefully on the architectural elements, carefully captured, and on the picturesque crowd that animates the piazza."

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CANALETTO. Le Procuratie Nuove e San Giminiano. Etching, 209x143 mm. Small margins. Bottom center: 'The Procuratie niove and S. Ziminian V'. Bottom left: 'A. Canal f'. State I/II. Good condition. It is part of the splendid series of 31 views that Canaletto engraved between 1740 and 1746.Succi: "The artist's eye dwells carefully on the architectural elements, carefully captured, and on the picturesque crowd that animates the piazza."

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Max Pollack, Die Tänzerin Mary Ley Pirouetting dancer with a wide skirt, etching in red, around 1920, signed "Max Pollak" in pencil below the image on the right, image dimensions approx. 26.5 x 18 cm, sheet dimensions approx. 38.5 x 29 cm. Artist information: also Max Pollack, German-CzechCzech painter and graphic artist (1886 Prague-Vinohrady to 1970 Sausalito near San Francisco/USA), studied at the Vienna Academy under William Unger and Ferdinand Schmutzer, received numerous scholarships, including the Wildschgo-Rom scholarship of the Vienna Academy in 1910, the Blumenfeld scholarship in 1911 and the Rothschild Prize in 1912, attended the exhibitions of the Vienna Secession from 1910, undertook study trips to Holland, Belgium, Bosnia, Italy, Sweden, Denmark and Germany, became a war painter in Austria during the First World War. He was appointed Austrian war painter during the First World War, spent 1924-27 in Paris, 1928-30 in the USA, then worked in Vienna, later moved to Sausalito near San Francisco in the USA, member of the Association of German Artists in Bohemia, member of the Chicago Etching Society and the California Etching Society, known for his portrait series of actresses, dancers, portraits of men as well as his landscapes and vedute, represented in museums in London, New York, Chicago, Prague and Vienna, source: Thieme-Becker, Vollmer, Dressler and Internet.

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GRIGORY GUBAREV (St. Petersburg, 1895 - Kiev, Ukraine, 1978). Untitled. Oil on panel. Attached certificate issued by Jon Urgoiti. Measurements: 30 x 20 cm; 43 x 35 cm (frame). This painting is ascribed by period, origin and style to the Russian avant-garde, a period of great innovation and plastic experimentation, especially in the field of geometric abstraction. Within the dominant movements of the region (suprematism, rayonism, futurism...), the present work on panel follows constructivist models. The use of color is bold and vibrant, associated with a form that contains it and gives it dynamism. The Russian avant-garde encompasses a period of artistic innovation that developed approximately between 1890 and 1930. This school includes a variety of movements and styles that together transformed art and visual culture not only in Russia but throughout the world. Russian avant-garde artists sought to break with academic traditions and experiment with new forms, techniques and concepts. Malevich, Tatlin and Rodchenko were among the many stellar figures of the movement. Grigov Gubarev studied with the painters A.A. Vesnin and Andrei Pomarenko and attended the art school of the HYLEA group of futurist-cubist tendencies. He was a member of the futurist group "Luchistj primitives" and participated intensively in the post-revolutionary pictorial changes. His painting ranged from avant-garde to constructivism. He was a professor of color technique at the Leningrad State Art College. Emeritus painter, member of the Association of Soviet Painters, he participated in various Russian and pan-Soviet exhibitions: his post-cubist paintings and his decorations in the various popular Dom Kultur of the countries of the Soviet Union stand out.

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TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

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