Null MARCELLO SCUFFI (1948-2021) - La tavolozza realista (V.S. Pour mon amour), …

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MARCELLO SCUFFI (1948-2021) - La tavolozza realista (V.s. pour mon amour), 1997 MARCELLO SCUFFI (1948-2021) The Realist Palette (V.s. pour mon amour), 1997 Oil on canvas 70x70 cm. Signature, title and date on the back Marcello Scuffi Archive on photograph

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MARCELLO SCUFFI (1948-2021) - La tavolozza realista (V.s. pour mon amour), 1997 MARCELLO SCUFFI (1948-2021) The Realist Palette (V.s. pour mon amour), 1997 Oil on canvas 70x70 cm. Signature, title and date on the back Marcello Scuffi Archive on photograph

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Julião Sarmento (1948-2021) Some Rethorical Structures To Be Identified In This Image 2002 Mixed media on canvas Signed, titled, dated on back 190 x 190 cm Provenance: > Galerie de France, Paris (label on back) > Sean Kelly Gallery, New York (label on back) Bibliography: > Ombres exhibition catalog, Éditions Galerie de France, Paris, 2008 Exhibitions: > Ombres, Galerie de France, Paris, November 8, 2008 - January 24, 2009 > Juliao Sarmento - Silhouettes noires 2002-2003, Galerie de France, Paris, May 19 - July 4, 2009 He is one of the world's best-known Portuguese artists. A pioneer of conceptual art, art critic Hans Ulrich Obrist says he has "changed Portugal", "very few artists transform an entire country". In a Portugal marked by revolution, the visual artist proposes innovative works combining sensuality and transgression. As this painting illustrates, women are at the heart of his thinking. She is merely a faceless silhouette. The focus is on the body. The representation of this body is sometimes stereotyped, as Sarmento seeks to explore the way in which the viewer possesses, sometimes perversely, the subject of the work. Inspired by Michel Foucault and the writings of Maria Gabriela Llansol, Sarmento pushes the limits of the medium. "I believe in negative space, the space outside the frame, as an active space of possibility. After all, to be human is to constantly desire, imagine or create that which we cannot see or experience." Today, his work is exhibited in the world's leading museums (MoMA and Guggenheim in New York, Centre Pompidou in Paris and Tate Modern in London). (MLD)

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Attributed to the Associate of the Missal Master Arcimboldi Annunciation Historiated initial D, taken from a choir book. Tempera and liquid gold, on parchment. Italy, Lombardy (Brescia or Mantua (?)), circa 1492-1495. Miniature mounted on a cardboard support. 20.8 x 19 cm Set against a classical, humanist architectural backdrop of bluish landscape, with a majestic peacock perched on a low wall, this Annunciation shows the angel Gabriel rushing towards the Virgin kneeling before a prie-Dieu. The light, careful compositional perspective and pastel palette lend a softness and elegance to this illuminated historiated initial. Dating from the late Quattrocento, this monumental illumination is most certainly taken from a choir book (gradual or antiphonary). This beautiful miniature is similar to a group of historiated initials attributed to an anonymous master, a close associate of the painter of the Arcimboldi Missal (Milan, Bibl. Capitolare, MS. II.D.I.13). This artist, baptized "Associate of the Master of the Arcimboldi Missal", was studied by Suida (1947) and seems to have worked in Brescia or the surrounding area. He is influenced, even in his architecture and treatment of checkerboard paving, by Milanese artists of the previous generation, such as Cristoforo de Predis. We know of a small group of historiated initials, taken from the same choir book, which show similarities to our Annunciation in the treatment of the figures and the palette. There is a first group of nineteen known initials, for a time in the Rodophe Kann collection, which feature related figures and strokes (Paris, 1907; see the survey and locations in P. Kidd, Illuminated Leaves and Cuttings From the Collection of Rodolphe Kann, see link below). Although the present Annunciation is not one of the miniatures in the Kann collection, there are obvious stylistic comparisons, starting with the lettering, with pastel motifs and palette (notably the violet/mauve of the lettering with pearl motifs and green and pink acanthus foliage). Remains of a blue baguette can be seen on the left side of the Annunciation: a historiated initial featuring Saint John the Baptist (former Burke Collection, San Francisco, now Stanford University, M2223) has this same blue baguette extended. Some related initials are in the Musée Marmottan, Wildenstein Collection, M 6103-6105. An overview of known initials is provided by C. Quattrini in Dizionario biografico dei miniatori italiani secoli IX-XVI, ed. M. Bollati, Milan, 2004, pp. 619-620. See Suida, W., "Italian Miniatures Paintings from the Rodolphe Kann Collection?", in Art in America 35 (1947), pp. 26-27. Bergamo and Brescia, Tesori miniati, codici ed incunaboli dai fondi antichi di Bergamo e Brescia, exp. cat. 1995. P. Kidd https://mssprovenance.blogspot.com/2021/04/illuminated-leaves-and-cuttings-from.html This drawing is presented jointly with Madame Marianne Aveline, 40, rue Gay-Lussac 75005 Paris.

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