Null Antonio Carneo 1637 Concordia Sagittaria-1692 Portogruaro
Jupiter and lo W.…

Description

Antonio Carneo 1637 Concordia Sagittaria-1692 Portogruaro Jupiter and lo W. 98 - H. 66 Cm oil on canvas Private collection, Pordenone

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Antonio Carneo 1637 Concordia Sagittaria-1692 Portogruaro Jupiter and lo W. 98 - H. 66 Cm oil on canvas Private collection, Pordenone

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Estim. 3 400 - 3 800 EUR

ANTONIO DE FELIPE (Valencia, 1965). "Sexhollywood- blue background". Acrylic on canvas. Signed in the lower right corner. Work registered on the artist's website. Measurements: 81 x 100 cm. Graduated in Fine Arts at the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative in an advertising agency, a fact that will undoubtedly mark what will be his pictorial style in the future. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", together with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the colour, loud and provocative, as well as the subject matter, very simple and direct. His creative facet has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as creating continuity bumpers for Telemadrid or designing tableware for the firm Santa Clara. He has collaborated on posters, album covers and in important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career, he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation in New Orleans, the Testimoni de La Caixa, Carmen Thyssen-Bornemisza and Kneip Collections in Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. In addition to this national and international presence, it has also participated in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg and KIAF (Korea International Art Fair), which are benchmarks for the latest artistic trends.

Estim. 3 000 - 4 000 EUR

ANTONIO DE FELIPE (Valencia, 1965). "Sara I". Acrylic on canvas. Signed in the lower right corner. Measurements: 200 x 200 cm. Work in which we can see how the artist has reinterpreted in pop key, a photograph of Sara Montiel. This photograph was chosen as the cover for issue 308 of Careta magazine in 1960. A graduate in Fine Arts from the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative artist in an advertising agency, a fact that would undoubtedly mark his future pictorial style. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", together with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the colour, loud and provocative, as well as the subject matter, very simple and direct. His creative facet has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as creating continuity bumpers for Telemadrid or designing tableware for the firm Santa Clara. He has collaborated on posters, album covers and in important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career, he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation in New Orleans, the Testimoni de La Caixa, Carmen Thyssen-Bornemisza and Kneip Collections in Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. In addition to this national and international presence, it has also participated in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg and KIAF (Korea International Art Fair), which are benchmarks for the latest artistic trends.

Estim. 1 800 - 2 000 EUR

ANTONIO DE FELIPE (Valencia, 1965). "Marilyn". Acrylic on canvas. Signed in the lower right corner. Measurements: 80 x 80 cm. Graduated in Fine Arts at the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative in an advertising agency, a fact that undoubtedly will mark what will be his pictorial style in the future. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", along with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the color, garish and provocative, as well as the subject matter, very simple and direct. His facet as a creative has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as to create continuity bumpers for Telemadrid or design tableware for the firm Santa Clara. He has collaborated on posters, album covers and important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation of New Orleans, the Testimoni Collections of La Caixa, Carmen Thyssen-Bornemisza and Kneip of Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. To this national and international presence is added its participation in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg, or KIAF (Korea International Art Fair), reference frameworks to know the latest artistic trends.

Estim. 70 000 - 90 000 EUR

LUCA GIORDANO (Naples, 1634 - 1705). "Holy Family with St. John". Oil on canvas. Relined. It preserves Italian frame of the seventeenth century in carved and gilded wood. Signed in the lower left corner. Provenance: Wells College Museum, Aurora (United States) and private collection, Madrid. Measurements: 83 x 104 cm; 108 x 130.5 cm (frame). Bibliography: Milkovich, M. (dir.). Luca Giordano in America. Memphis: 1964, p. 38. - Ferrari, O. and Scavizzi, G. Luca Giordano. Naples: 1966, vol. II, p. 49 and vol. III, fig. 89. -Fredericksen, B. B. and Zeri, F. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge: Harvard University Press, 1972, pp. 85 and 554. - Ferrari, O. and Scavizzi, G. Luca Giordano. L'opera completa. Naples: Electa, 1992, vol. I, p. 263, cat. no. A86. -Sotheby's New York, Master Paintings & Sculpture: Part II, cat. exp. 29 January 2015. Luca Giordano is one of the most relevant figures of the European Baroque. A prolific painter, his career developed between his native Naples and the court of Madrid, where he resided between 1692 and 1702. His early biographers indicate that he was trained in the style of Ribera, whose style he imitated during his early years. His ability to imitate and copy the old masters would lead him to imitate the style of Rafael Sanzio, as shown in some of the paintings preserved in the Prado Museum. His time in Venice and Rome is also evident in his work, especially with regard to Pietro da Cortona. A good example of this is this Holy Family with St. John, dated by Ferrari and Scavizzi around 1660. It shows the physical types of Cortona's paintings such as his Adoration of the Shepherds of San Salvatore in Lauro. On the other hand, the space with classical ruins in which the figures are inserted is related to contemporary paintings by Giordano as his St. Anne with the Child Virgin of the Church of the Assumption in Chiaia (1657) or Christ among the doctors of Bolognese private collection (ca. 1660). The painting was first documented in 1664 by Milkovich in the Wells College Museum in Aurora. It was also collected there by Ferrari and Scavizzi in 1992, who also studied it and dated it to around 1660." Luca Giordano, the most outstanding Neapolitan painter of the late 17th century, and one of the main representatives of the late Italian Baroque.Painter and engraver, known in Spain as Lucas Jordan, Giordano enjoyed great popularity during his lifetime, both in his native Italy and in our country. However, after his death his work was often criticized for its speed of execution, opposed to the Greco-Latin aesthetics. It is believed that he was formed in the environment of Ribera, whose style he followed at first. However, he soon traveled to Rome and Venice, where he studied Veronese, whose influence has been felt ever since in his work. This trip was key to the maturation of his style, as well as the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. At the end of the 1670s Giordano began his great mural decorations (Montecassino and San Gregorio Armeno in Naples), which were followed from 1682 by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to carry out mural works in the monastery of El Escorial, where he worked from 1692 to 1694. Later he also painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of the cathedral of Toledo (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of Succession, so Giordano returned to Naples in 1702, although from there he continued to send paintings to Spain. Today Giordano's works are kept in the most important art galleries around the world, including the Prado Museum, the Hermitage in St. Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London. Bibliography: Milkovich, M. (dir.). Luca Giordano in America. Memphis: 1964, p. 38. - Ferrari, O. and Scavizzi, G. Luca Giordano. Naples: 1966, vol. II, p. 49 and vol. III, fig. 89. -Fredericksen, B. B. and Zeri, F. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge: Harvard University Press, 1972, pp. 85 and 554. - Ferrari, O. and Scavizzi, G. Luca Giordano. L'opera completa. Naples: Electa, 1992, vol. I, p. 263, cat. no. A86. -Sotheby's New York, Master Paintings & Sculpture: Part II, Cat. exp. 29 January 2015.

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