Null JOSÉ MARÍA SERT (Barcelona, 1874 - 1945).

"Pueblo de libertad" and "Pueblo…

Descripción

JOSÉ MARÍA SERT (Barcelona, 1874 - 1945). "Pueblo de libertad" and "Pueblo de comerciantes", 1932-1934. Sketch for the auditorium of the San Telmo Museum in San Sebastián. Oil on panel. The definitive panels published in "José María Sert. His life and work", Alberto del Castillo, pp. 215 and 218. Measurements: 74.5 x 53.5 cm. This canvas presents two scenes. On the one hand, "People of Freedom", which shows the Guernica Tree, symbol of the freedoms of Vasconia, which rises with its dry branches in front of the peristyle of the Casa de las Juntas. Alberto del Castillo states that "the figure of Liberty flies through the air, centring a sparkling aureole which the rays of glory furrow". At the foot of the old oak tree, a large open book symbolises the Charter of Bizkaia; on the other hand, "Pueblo de comerciantes" represents the scene dedicated to the Real Compañía Guipuzkoana de Caracas, an entity that gave the province an unusual economic boom throughout the 17th century. This work exalts the Basques as a people of merchants. Both compositions were painted for the decoration of the great hall of the Museum of the former convent of San Telmo in San Sebastián, one of the most colourful decorations of the painter's life. Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc. In 1908 he decorated the Sala dels Pasos Perdus at the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly). He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, creating important murals such as those at the Waldorf Astoria.

88

JOSÉ MARÍA SERT (Barcelona, 1874 - 1945). "Pueblo de libertad" and "Pueblo de comerciantes", 1932-1934. Sketch for the auditorium of the San Telmo Museum in San Sebastián. Oil on panel. The definitive panels published in "José María Sert. His life and work", Alberto del Castillo, pp. 215 and 218. Measurements: 74.5 x 53.5 cm. This canvas presents two scenes. On the one hand, "People of Freedom", which shows the Guernica Tree, symbol of the freedoms of Vasconia, which rises with its dry branches in front of the peristyle of the Casa de las Juntas. Alberto del Castillo states that "the figure of Liberty flies through the air, centring a sparkling aureole which the rays of glory furrow". At the foot of the old oak tree, a large open book symbolises the Charter of Bizkaia; on the other hand, "Pueblo de comerciantes" represents the scene dedicated to the Real Compañía Guipuzkoana de Caracas, an entity that gave the province an unusual economic boom throughout the 17th century. This work exalts the Basques as a people of merchants. Both compositions were painted for the decoration of the great hall of the Museum of the former convent of San Telmo in San Sebastián, one of the most colourful decorations of the painter's life. Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc. In 1908 he decorated the Sala dels Pasos Perdus at the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly). He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, creating important murals such as those at the Waldorf Astoria.

Las pujas estan cerradas para este lote. Ver los resultados

Podría interesarle

Valorac. 3 500 - 3 700 EUR

JOSÉ LUIS ALEXANCO (Madrid, 1942-2021). "Boscuman", 1991. Acrylic on cotton canvas. Signed and dated on the back. Titled and dated on the stretcher frame. Measurements: 150 x 150 cm; 154 x 154 cm (frame). Alexanco studied drawing and engraving with Manuel Castro Gil at the Casa de la Moneda, in Madrid, and in 1960 he enters the School of Fine Arts. Between 1968 and 1974 he collaborated with other artists at the University's Calculus Center, where he worked on sculptural generation programs, in collaboration with the American company IBM. During this period he met the mathematician José Barbera, and together they developed the software MOUVNT, designed to generate automatic forms that would later materialize in anthropomorphic sculptures. In 1970, together with Luis de Pablo, he created the acoustic plastic show "Soledad Interrumpida", trained in Buenos Aires. In the following years he would continue to work with the same author on various projects, including the organization of the Pamplona Encounters of 1972. In 1978 he designed the prince edition of the Spanish Constitution for the Editora Nacional, and in 1998 he presented an important retrospective exhibition at the Centre d'Art Santa Mònica in Barcelona (later at the Círculo de Bellas Artes in Madrid). A referent of late Francoist painting and a technological innovator, his work is part of collections such as those of the Victoria & Albert Museum in London, The Chase Manhattan Bank in New York, MNCARS, Madrid; MACBA, Barcelona or the Juan March Foundation.

Valorac. 15 000 - 18 000 EUR

JOSÉ GUERRERO (Granada, 1914 - Barcelona, 1991). Untitled, 1985. Oil on lithographic background. Signed and dated. Bibliography: Baena, Francisco; Guibault, Serge; Ramírez, Juan Antonio; Romero Gómez, Yolanda; Vallejo Ulecia, Inés, Catalogue Raisonné Vol. II. 1970-1991, ed. Centro José Guerrero, page 1090, nº 1133. Measurements: 68 x 48 cm; 82 x 64 cm (frame). Spanish painter and engraver nationalized American, José Guerrero developed his work within the abstract expressionism. He began his training at the School of Arts and Crafts in Granada, and soon moved to Madrid to continue his studies at the Escuela Superior de Bellas Artes de San Fernando, where he was a student of Daniel Vázquez Díaz. In 1942 he obtained a scholarship from the Casa de Velázquez, and in 1945 he moved to Paris thanks to a new scholarship, this time granted by the French government. In the French capital he got to know first hand the European avant-garde, and came into contact with the Spanish painters of the School of Paris. Since then, his work is full of avant-garde echoes and Picasso's signs, clearly visible in this work, features that he will abandon in the fifties, when he discovers abstract expressionism in New York. He arrived in that city in 1950, encouraged by his wife, the New York journalist Roxana Pollock, whom he had married a year earlier. In 1954 he exhibited with Joan Miró at the Art Club of Chicago, an exhibition that meant his definitive international projection. His dealer was Betty Parson, one of the most important gallery owners in New York at the time. Guerrero's style then changed completely, showing a profound influence of Rothko and Kline; he definitively abandoned figuration and built compositions where a marked tension between spaces, colors and unrecognizable objects was evident. He returns to Spain in 1965, and participates in the creation of the Museum of Abstract Art in Cuenca. He soon returned to New York, although he continued to make trips to Spain. His production, which continues to be characterized by the power of masses of color, planes and lines, is influenced at this time by Clyfford Still and Barnett Newman. Today, José Guerrero is recognized as one of the most outstanding Spanish painters of the New York School. He achieved early recognition, being named Knight of the Order of Arts and Letters by the French government in 1959. Likewise, in 1976 his first anthological exhibition was held in his hometown. In 1984 he received the Gold Medal of Fine Arts, and in 1989 he was decorated by the Rodriguez Acosta Foundation. In 2000 the art center that bears his name was inaugurated in Granada, created from the donation made by his widow to the Provincial Council. He is also represented in various museums and collections, including the Guggenheim Museum, the MOMA and the Metropolitan in New York, the Reina Sofia in Madrid, the British Museum and the Patio Herreriano in Valladolid.

Valorac. 7 000 - 8 000 EUR

JOSÉ MANUEL BROTO GIMENO (Zaragoza, 1949). "Hierros", 2000. Acrylic on canvas and wood. Signed, dated and titled on the back. Size: 100 x 100 cm. Aragonese painter framed within the new abstraction of the seventies, being considered as one of the most significant figures of contemporary Spanish painting, José Manuel Broto articulates his plastic language using colour, modulating it in subtle tonal variations that evoke musical symphonies. The artistic influences received throughout his career led him towards an abstraction close to artists such as Mark Rothko, Barnett Newman, Clyfford Still, Robert Motherwell and Sam Francis, based on lyricism and, in some cases, the sublime. The path opened up by Antoni Tàpies, who shunned the conceptual to practise a material art based on the essentiality of painting, was fundamental for him. Thus, in this work, Broto uses an abstract language, based on irregular geometry, free both in its layout and in its textures and colours. The pictorial forms are the fruit of duality, in that they are resolved by means of a thought-out composition and also by experimentation. The result is an image that transcends, indicating to the spectator that we are dealing with forms, ideas or suggestions that go beyond the boundaries of the purely pictorial. José Manuel Broto studied at the School of Arts and Crafts in Zaragoza, and exhibited his work for the first time in 1968 (Galdeano gallery), showing a style in line with constructivism. In 1972 he moved to Barcelona, where he founded the group Trama together with Javier Rubio, Xavier Grau and Gonzalo Tena. With this group he presented his work in 1976 at the Maeght gallery in Barcelona, with the support of Antonio Tàpies. Trama also published an art magazine of the same name, of which, however, only two issues appeared (1976-1977). However, after the dissolution of the group, Broto moved towards a language close to abstract expressionism, which incorporated a primitive natural landscape into his work. He showed these new works in his first solo exhibition in Paris, held in 1984 at the Adrien Maeght gallery. The following year he left Barcelona and settled in the French capital, where he spent ten years and coincided with other Spanish artists such as Barceló, Campano and Sicilia. During his Parisian period Broto replaced the romantic themes with more austere and abstract forms, and his work became filled with organic forms related to the ascetic and mystical tradition. In the mid-1980s he returned to Spain, this time settling in Mallorca. Already a mature artist, he practises a neo-abstraction directly linked to the Catalan school of the seventies, influenced in its origins by the aesthetic and plastic principles of the French group Soporte/Superficie, which in 1966 called for a return to painting after the disorder produced by the conceptual movements. From 1998 onwards, his range of themes broadened to include spatial figures, transparencies, atmospheric forms, etc., combined with a colourful treatment and a rigorous structure. Throughout his career, Broto has held numerous exhibitions, and has been awarded the National Prize for Plastic Arts (1995), the ARCO Prize of the Critics' Association (1997) and the Aragón Goya Prize for Engraving (2003). In 1995 the Reina Sofía Museum in Madrid dedicated a retrospective exhibition to him. He is currently represented in the Museo de Arte Abstracto Español in Cuenca, the FRAC (Midi-Pyrénées, France), the Chase Manhattan Bank Collection in New York, the Juan March Foundation, the Reina Sofía, the Metropolitan Museum in New York, the Fond National d'Art Contemporain in Paris, the Kampo Collection in Tokyo, the Tàpies Foundation in Barcelona, the DOVE Collection in Zurich, the Ateneum in Helsinki, the Peter Stuyvesant Foundation in Amsterdam, the Maeght in France, the La Caixa Collection in Barcelona, the Preussag in Hanover and the IVAM in Valencia.

Valorac. 45 000 - 50 000 EUR

MIGUEL ÁNGEL CAMPANO (Madrid, 1948 - 2018). Untitled.1993. Oil and acrylic on linen. Signed and dated on the back. Work reproduced in: -Santiago Olmo, "Miguel Ángel Campano. Paintings 1993", Ed. Gallery Juana de Aizpuru, Madrid 1993, p. 12 -Santiago Olmo, "Campano", Ed. Association Fortant de France, Setè 1994, p. 45. -Santiago Olmo, "Miguel Ángel Campano", Ed. Sa Nostra, Social and Cultural Work, Palma de Mallorca 1997, p. 19". Measurements: 266 x 195 cm. We are before a composition of great format that conjugates the visual effect that results from the chromatic and conceptual contrast between two opposite colors, the white and the black, at the time that explores the imperfection of the minimal deceptively geometric forms: the deformed oval, the point that expands in spot. These hollowed out forms are characteristic of the works made by Campano in the early nineties, which he had already begun to explore when he abandoned figuration. The artist claimed to be influenced by his travels to Asian countries. In the nineties, he used only black oil. Campano reinvented himself again and again. From the 1990s onwards, Campano's work underwent different processes of stripping: on the one hand, references to tradition were cut and, on the other, color was excluded from his painting, working only in black on bare canvas. Reflection on geometry, on the other hand, became a key aspect of his production. Miguel Ángel Campano is one of the referents of the so-called renovation of Spanish painting, which took place in the eighties and in which Ferrán García Sevilla, José Manuel Broto, José María Sicilia and Miquel Barceló also participated. In the 70's he moved to Paris thanks to a scholarship; the planned year became a stay of more than ten, there he lived and developed his brilliant pictorial career. Then he went to live in Mallorca. In 1980 he was part of the exhibition Madrid DF, in the Municipal Museum of Madrid, along with several artists among whom were the same ones that today -except García Sevilla- accompany him in the Palacio de Velázquez. Five years later he was selected, together with other fellow artists of his generation, then all young painters, such as Miquel Barceló, who was already an outstanding figure, and José María Sicilia, for a group exhibition in New York. In 1996 he was awarded the National Prize for Plastic Arts. He had just suffered a serious stroke and underwent surgery in Madrid. This forced him to spend several months without painting. Then he painted "only in black", a very symbolic color according to his own words. Three years later, the Reina Sofia Museum organized in this same Palacio de Velazquez an exhibition dedicated to his recent work then, that of the 90s. His works are exhibited in the most important museums, such as the British Museum in London, the Pompidou Center in Paris and the Centro de Arte Contemporáneo Reina Sofía in Madrid.

Pagos Online seguros garantizados por Ingenico y transacciones encriptadas.

Cada lote ha sido autenticado y valorado por una casa de subasta.

Consulte nuestra sección de ayuda o póngase en contacto con nosotros

Historica casa de subasta , Drouot es la casa de subastas mas grande de Francia. Abierta a todo el mundo, la institución es el lugar ideal para los amantes del arte y la decoración. La plataforma de subastas en línea drouot.com le permite pujar a distancia, desde cualquier lugar, y acceder al mayor catálogo de arte y objetos decorativos de la Europa continental.

El Grupo Drouot

CASAS DE SUBASTAS ASOCIADAS A DROUOT

Contactos

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]

Área de prensa

Visitas y privatizaciones