Null LEVI PRIESTS ADELE
Turin 1912-Naples 1985
"From the Window" 1958
60x40 oil …

Description

LEVI PRIESTS ADELE Turin 1912-Naples 1985 "From the Window" 1958 60x40 oil on cardboard Work signed and dated on the back

152

LEVI PRIESTS ADELE Turin 1912-Naples 1985 "From the Window" 1958 60x40 oil on cardboard Work signed and dated on the back

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Estim. 585 - 650 EUR

Julius Paul Junghanns

Estim. 10 000 - 15 000 EUR

Aldo Mondino (1938 - 2005) SINKING BOAT - APRIL 6TH 1912, 1980 oil on canvas, cm 140x90 title on the back: signature, title and date The work is accompanied by a certificate of authenticity from the Aldo Mondino Archives. Exhibitions Mondo Mondino, Museo Teatro del Commenda di Pre', Genoa, November 12-December 31, 2019, ibid. p. 36 (erroneously dated) Bibliography Aldo Mondino. General Catalogue, Turin 2017, vol. 1, p. 376, no. 1

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. 26 000 - 27 000 EUR

PER BARCLAY (Oslo, 1955). "The slaughter house", 1996. Type C photograph of the installation created. Provenance: private collection. Formerly Oliva Arauna Gallery (Inver-Kalis SA). Measurements: 205 x 165 cm. With the installation "The Slaughterhouse", Per Barclay played with the reflective effect of the blood of the cattle, making the floor shine. In the same way that in other installations he deployed symbolisms of the disturbing effects of spilled oil in uninhabited spaces, here the references are multiplied: nods to the history of art, but also to the idea of sacrifice and violence. Per Barclay is a sculptor, photographer and art historian. His art installations have been seen in museums all over the world. Per Barclay's work combines concepts of tension and drama, which he works with the influence of the Norwegian artist Edvard Munch. After studying art history in Bergen, in 1979 he left Norway to find new artistic references in Italy. In Florence he studied design and photography, then moved to the Academy of Bologna in 1981 and two years later to Rome. After spending time in Naples, he moved to Turin, where he came into direct contact with the artists of Arte Povera. From then on, the artist used oil and water as pictorial elements, and steel and glass as structural materials for his pieces. In 1994 he moved to Paris, where he lives and develops his projects. His works can be found, among others, in the National Museum of Art, Architecture and Design, the Henie-Onstad Art Centre, in the museum of contemporary art "Kiasma" in Helsinki and in different museums in Spain (Koldo Mitxelena Kulturunea, Museo Nacional Centro de Arte Reina Sofía), Italy and France (Centre de Création Contemporaine). He participated in the Venice Biennale in 1990, in the Lillehammer Art Museum during the Winter Olympics in Lillehammer in 1994, in the Bergen International Festival in 2001 and the Northern Norwegian Festival in 2009, and has contributed to the international project Skulpturlandskap Nordland.

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