Null RIOU (Jakez) & CRESTON (René-Yves) - Kéravel et Recouvrance -Paris ; Éditio…
Descrizione

RIOU (Jakez) & CRESTON (René-Yves) - Kéravel et Recouvrance -Paris ; Éditions Keltia, 1932 - 1 volume In-folio in leaves under filled cover (spine nicely redone) - Some foxing on the text pages - 13 plates of out-of-text drawings by René-Yves Creston (against 12 announced) - Exemplaire hors commerce sur beau papier lettré K (l'1 des 12, tirage total : 122) with dispatch from Riou to P. Gasnier with his autograph signature and that of René-Yves Creston. Gasnier with his autograph signature and that of René-Yves Creston in the justification - Very rare work on Brest, printed by La Dépêche de Brest for the text and by Tainon de Nantes for the drawings.

667 

RIOU (Jakez) & CRESTON (René-Yves) - Kéravel et Recouvrance -Paris ; Éditions Keltia, 1932 - 1 volume In-folio in leaves under filled cover (spine nicely redone) - Some foxing on the text pages - 13 plates of out-of-text drawings by René-Yves Creston (against 12 announced) - Exemplaire hors commerce sur beau papier lettré K (l'1 des 12, tirage total : 122) with dispatch from Riou to P. Gasnier with his autograph signature and that of René-Yves Creston. Gasnier with his autograph signature and that of René-Yves Creston in the justification - Very rare work on Brest, printed by La Dépêche de Brest for the text and by Tainon de Nantes for the drawings.

Le offerte sono terminate per questo lotto. Visualizza i risultati

Forse ti piacerebbe anche

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).

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).