Null Tableau aborigène
FIRE DREAMING, Adam Reid 2012
Contemporary Aboriginal pai…

Description

Tableau aborigène FIRE DREAMING, Adam Reid 2012 Contemporary Aboriginal painting Acrylic on Canvas Certificate 119x76cm

168

Tableau aborigène FIRE DREAMING, Adam Reid 2012 Contemporary Aboriginal painting Acrylic on Canvas Certificate 119x76cm

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Estim. 14 000 - 15 000 EUR

Spanish school of the last third of the eighteenth century. "Our Lady of the Annunciation". Oil on canvas. Presents restoration. The frame is damaged. Measurements: 35.5 x 29 cm; 43.5 x 37 cm (frame). At formal and compositional level this work follows the trail of the great painter Antonio Rafael Mengs, whose artistic style influenced many painters of the time and later. In this painting we see a Virgin of the Annunciation leaning before a table on which rests an open book, with her head lowered as a sign of humility and her hands crossed on her chest, indicating her submissive acceptance of the divine message. The figure is placed in the foreground, before a neutral and dark background, somewhat more illuminated behind the head, following a composition that is at the same time typical of contemporary portraiture and devotional painting, which brings the image even closer to the viewer, seeking to move the soul of the faithful who prays before the image.

Estim. 4 000 - 5 000 EUR

Neapolitan school of the 17th century. Following models by JOSÉ DE RIBERA (Játiva, 1591-Naples,1652) . "The View". Oil on canvas. Re-coloured in the 19th century. It presents repainting. Measurements: 110,5 x 88,5 cm; 126,5 x 104 cm (frame). In the Neapolitan school, the influence of José Ribera was remarkable. His vehement and vigorous naturalism, filtered by Flemish influences, beats strongly in the Neapolitan painting contemporary to the Sevillian painter. Here we have a clear example of this influence. The author has faithfully reproduced the painting "The View" which Ribera painted during his stay in Rome (now in the Franz Mayer Museum). It was part of a series on the five senses. In this version, the dual ancestry of Ribera and Caravaggio can be seen in the violent, tenebrist light that bursts through in a slanting manner. It should also be noted that Ribera moved away from the iconographic complexity of the visions of the Five Senses produced in the Low Countries, along the lines of Brueghel. The Valencian artist, who takes up the present version, focuses on a character taken from everyday life. The man holds a spyglass in his hands that allows him to contemplate the universe through the window. Glasses and a mirror complete the representation of sight. The figure is placed in an interior and receives the strong impact of the light on his head and hands, his body being chiselled in each and every detail. The dark tones are used to focus the viewer's attention on the face, which is charged with emotional intensity.

Estim. 3 000 - 3 500 EUR

GEORGES ROUSSE (Paris, 1947). Untitled. Barcelona, 2003. Photographic paper, copy 12/30. Signed, numbered, traced and dated by hand. Exhibited at the Carles Taché gallery, Barcelona, 2003. Size: 52 x 41 cm; 75 x 63 cm (frame). Since the early 1980s, Georges Rousse's work has been characterised by the relationships he has established between photography, painting, sculpture and architecture. The photographic language, however, is the backbone of the others, dialoguing with them and playing with spatial effects. This was seen in the exhibition held at the Carles Taché gallery in Barcelona, of which this work was part. Ever since he received a Kodak Brownie Flash as a Christmas present when he was 9 years old, the camera has never left Georges Rousse's hands. While studying medicine in Nice, he decided to learn the techniques of photography and printing from a professional, and then set up his own architectural photography studio. Increasingly, his passion led him to devote himself entirely to the artistic practice of this medium, following in the footsteps of the great American masters Edward Steichen, Alfred Stieglitz and Ansel Adams. It was with the discovery of the works of Land art and Kasimir Malevitch's Black Square on a White Background that Georges Rousse chose to intervene in the field of photography, establishing a relationship between painting and space. He appropriates abandoned places that he has always liked, transforms them into pictorial spaces and builds there a unique and ephemeral work that only photography can reproduce. In order to allow the spectator to share his experience of Space, he has been presenting his images in large format prints since the early 1980s. This strong and singular work, which shifts the boundaries between traditional media, immediately imposed itself on the contemporary art scene. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, Asia (Japan, Korea, China, Nepal), the United States, Quebec and Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Salon de Montrouge Drawing Award 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world.

Estim. 380 - 760 EUR

NAVARRO (n.1973), TRÍPTICO DE SERIGRAFIAS Tríptico de serigrafias: de Navarro, numeradas: PE 4ª/5; PE 3b/5; PE 4C/5. Dim. Mancha: 50x50; Suporte: 60x60 cm. # Diogo Navarro (n.1973). Diogo Navarro nasceu em Moçambique e vive em Lisboa, Portugal. Estudou na Sociedade Nacional de Belas Artes, em Lisboa. É um artista multifacetado, que procura explorar as potencialidades pictóricas de vários materiais através da pintura. Trabalha a óleo, madeira e assemblages. Realizou inúmeras exposições individuais e coletivas, em Portugal e no estrangeiro, inspirando-se a sua obra nos cenários africanos e nas suas viagens que o moldaram durante a sua infância. Realiza colaborações e obras de beneficência, como no ano de 2022, onde produziu 200 serigrafias em que todo o lucro de vendas reverteu para a UNICEF e Cruz Vermelha Portuguesa. As suas obras estão patentes em várias coleções públicas e privadas, salientando-se a Embaixada do Vaticano, em Rosa; Embaixada de Portugal, em Kinshasa; Embaixada dos Estados Unidos, em Lisboa; Museu de História Natural e Ciência e Palácio Nacional da Ajuda, ambos em Lisboa. Em 2012 receveu o prémio "Imagem da Rússia", pela Academia Russa de Belas Artes de Moscovo.

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