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Thu 27 Jun

LIN FENGMIAN (1900-1991) Market scene, fishmongers Ink and gouache on paper Signed lower left, above a red stamp. Size: 33.3 x 33.3 cm With cream damask silk border; framed under glass. Condition: Freckling and slight yellowing of silk and paper; damp stain at the top, especially on the silk, but somewhat biting on the painting. Provenance: Lyon family, for several years. ATTENTION - NO LIVE AUCTIONS ON INTERENCHERES ATTENTION - NO LIVE AUCTIONS ON INTERENCHERES The scene, painted in pastel shades of blue, mauve and beige, depicts three women at a table, one cleaning fish. To her right, another woman provides fish, dipping her hand into a basket held by the third. In the foreground, in front of the table, three large baskets of fish, two still full, the one on the left, next to the third fishwife, empty. Lin Fengmian had recurring themes that he depicted more often than others, such as these evanescent female figures or Peking opera characters. Scenes of everyday life are rarer in the artist's work, but in this painting, we find the lively movement conferred by lively brushstrokes and rounded shapes, such as baskets and arms. About the artist : LIN FENGMIAN is one of those painters on whom the West in general, and France in particular, will have a major impact, which they will then transmit to China, upsetting ancestral references and traditions. Like a number of his compatriots, in 1918 he had the opportunity to go to France as part of a study program. He was one of the pioneers, along with Xu Beihong. Lin Fengmian stayed in France until 1925, first in Dijon, then in Paris, where he studied at the Ecole des Beaux-Arts. From then on, he was constantly striving to marry the Chinese artistic tradition with that of the West. On his return to China, he taught, first at the National Academy of Art in Beijing, then at the Hangzhou Academy of Art, of which he was director in both cases. Here, he taught what he had absorbed in the West, thus initiating, along with other contemporary artists also influenced by Western art, a profound break with Chinese artistic traditions, and playing a major role in the reform of art education in China. His pupils included Zao Wuki, Zhu Dechun and Wu Guanzhong, who in turn travelled to France, becoming as famous as the master. In the late 1960s and early 1970s, his work was heavily criticized by the authorities. He was even imprisoned for 4 years. He eventually left China and settled in Hong Kong in 1977, while continuing to travel the world.

Estim. 10 000 - 15 000 EUR

Thu 27 Jun

Lucrezia Cutrufo - Lucrezia Cutrufo (NOTO 1960). Saint Anthony of Padua - portrait, 2019. Mixed media on canvas (oil, acrylic and crystals), signature, title and date on the back. cm60x30. Lucrezia CUTRUFO lives in Rome, where she graduated in Medicine and Surgery at the Catholic University of the Sacred Heart. She was born in eighteenth-century Baroque Noto, in eastern Sicily. Her painting teacher was her mother, a student in Tuscany of the cowherd painter Graziella Battigalli known as "Nerina la Maremmana." Starting with watercolor, the Artist went through experimentations with other techniques, pencil, charcoal, tempera, up to oil. Later, he abandoned figurative art to express himself in informal painting. In July 2016, he founded a current of Spatialism that he called "Spatialism of the Soul" because it adds a fourth dimension to the three already indicated by Fontana in the 1940s, the transcendent dimension, concretely expressed in crystals that reflect light. More properly, the crystals give visibility to the human soul that refracts the Light of God to the extent relative to each person's nature, and faith and will. This "theocentric" theory is the fruit and synthesis of the Artist's spiritual formation matured in a Catholic environment (from her families of origin to her studies at a historic Liceo Classico in Noto formerly a Jesuit College, to the Catholic University of the Sacred Heart in Rome where she graduated, to the spiritual path she traveled in the Catholic Church) and her theological formation matured through the study of the texts of Cardinal Ratzinger, then Benedict XVI, and Moral Theology at the Jesuit Pontifical Gregorian University. The Exhibition-Manifesto of the Spatialism of the Soul, held at the Vatican on Candlemas Day 2017, was widely reported in the print press and on the web. The Artist expounded his theory of Spatialism of the Soul through the writing of two Manifestos: the first, published in February 2017 and endorsed by a group of intellectuals, art critics, theologians, politicians and art collectors, reveals the means by which spiritual impressions are poured onto the canvas with colors and light; the second, published in May 2023, explicates the natural development of the basic theory, evolved into the creation of "spiritual portraits." The WORKS of Soul Spatialism have been EXPOSED at: - La Pigna Gallery, Vatican City, Exhibition-Manifesto Feb. 2-6, 2017 - Galerie Mona Lisa, Paris, Feb. 15-23, 2017 - Galerie Pinna, Berlin, Feb. 11-21, 2017 - Altare della Patria (Vittoriano, Ala Museo Brasini), Rome, Triennial Exhibition of Visual Arts, March 25-April 21, 2017 - Grand Palais, Paris, Art Capital, Feb. 12-17, 2019 - Carrousel du Louvre, Paris, October 18-20, 2019 - "Arte Padova," Padua, 30th Exhibition of Modern and Contemporary Art, November 14-18, 2019 - Espace Fontvieille, Monaco, August 21-23, 2020 - International Art Contest "Art and VirTus," Virtual Exhibition, 2nd Edition 2021 AWARDS: - Grand Prix Paris Saint Germain de Prés, Paris, February 15, 2017 (delivered at the Vatican by Soprano Chiara Taigi) - Grand Prix des Beaux Arts de Paris, Paris, February 12, 2019 CATALOGUES: - Catalog of the 2017 Triennial Visual Arts Exhibition, work-first of Soul Spatialism "Contemplation" on the cover - Atlas of Contemporary Art 2021, Ed. De Agostini, pgs.855-856 - Atlas of Contemporary Art 2024, Ed. Giunti, under the sponsorship of the Metropolitan Museum of New York, pg.769

No estimate

Thu 27 Jun

Lucrezia Cutrufo - Lucrezia Cutrufo (Noto, 1960). "L'Amor che move il sole e l'altre stelle" (10th Canto of Paradise, from Dante's Comedy) - The Holy Spirit, 2017. Mixed media (oil on canvas, with crystals); signature, title and date on back, cm50x50. Lucrezia CUTRUFO lives in Rome, where she graduated in Medicine and Surgery at the Catholic University of the Sacred Heart. She was born in eighteenth-century Baroque Noto, in eastern Sicily. Her painting teacher was her mother, a student in Tuscany of the cowherd painter Graziella Battigalli known as "Nerina la Maremmana." Starting with watercolor, the Artist went through experimentations with other techniques, pencil, charcoal, tempera, up to oil. Later, he abandoned figurative art to express himself in informal painting. In July 2016, he founded a current of Spatialism that he called "Spatialism of the Soul" because it adds a fourth dimension to the three already indicated by Fontana in the 1940s, the transcendent dimension, concretely expressed in crystals that reflect light. More properly, the crystals give visibility to the human soul that refracts the Light of God to the extent relative to each person's nature, and faith and will. This "theocentric" theory is the fruit and synthesis of the Artist's spiritual formation matured in a Catholic environment (from her families of origin to her studies at a historic Liceo Classico in Noto formerly a Jesuit College, to the Catholic University of the Sacred Heart in Rome where she graduated, to the spiritual path she traveled in the Catholic Church) and her theological formation matured through the study of the texts of Cardinal Ratzinger, then Benedict XVI, and Moral Theology at the Jesuit Pontifical Gregorian University. The Exhibition-Manifesto of the Spatialism of the Soul, held at the Vatican on Candlemas Day 2017, was widely reported in the print press and on the web. The Artist expounded his theory of Spatialism of the Soul through the writing of two Manifestos: the first, published in February 2017 and endorsed by a group of intellectuals, art critics, theologians, politicians and art collectors, reveals the means by which spiritual impressions are poured onto the canvas with colors and light; the second, published in May 2023, explicates the natural development of the basic theory, evolved into the creation of "spiritual portraits." The WORKS of Soul Spatialism have been EXPOSED at: - La Pigna Gallery, Vatican City, Exhibition-Manifesto Feb. 2-6, 2017 - Galerie Mona Lisa, Paris, Feb. 15-23, 2017 - Galerie Pinna, Berlin, Feb. 11-21, 2017 - Altare della Patria (Vittoriano, Ala Museo Brasini), Rome, Triennial Exhibition of Visual Arts, March 25-April 21, 2017 - Grand Palais, Paris, Art Capital, Feb. 12-17, 2019 - Carrousel du Louvre, Paris, October 18-20, 2019 - "Arte Padova," Padua, 30th Exhibition of Modern and Contemporary Art, November 14-18, 2019 - Espace Fontvieille, Monaco, August 21-23, 2020 - International Art Contest "Art and VirTus," Virtual Exhibition, 2nd Edition 2021 AWARDS: - Grand Prix Paris Saint Germain de Prés, Paris, February 15, 2017 (delivered at the Vatican by Soprano Chiara Taigi) - Grand Prix des Beaux Arts de Paris, Paris, February 12, 2019 CATALOGUES: - Catalog of the 2017 Triennial Visual Arts Exhibition, work-first of Soul Spatialism "Contemplation" on the cover - Atlas of Contemporary Art 2021, Ed. De Agostini, pgs.855-856 - Atlas of Contemporary Art 2024, Ed. Giunti, under the auspices of the Metropolitan Museum of New York, pg.769

No estimate

Thu 27 Jun

Jose de Paez (Mexico City, 1727 - circa 1790) - Jose de Paez (Mexico City, 1727 - circa 1790) "Saint John of Nepomuk" Oil on copper. Signed: "Joseph de Paez Fecit". With an imposing,17th century frame. 27 x 21 cm. Frame measurements: 88 x 58,5 cm. Saint John of Nepomukwas a bohemian priest, Vicar General of the Diocese of Prague. Martyred in the year 1393 for the secrecy of confession - he was thrown into the river from the Charles Bridge, in that city, by King Wenceslas IV who was trying to seize the assets of the Church. His tongue was cut out, for not revealing the queen's sins to the King, who wanted to hear them, and so killed him for his silence. Patron saint of confessors, who must keep the sacramental seal. The scene presents Saint John of Nepomuk with a crucifix, the martyr's palm and with five stars in his halo, as legend tells that they were seen around his head when his body was rescued from the river. To his right we see a small angel making the sign of "silence" and on the lower cartouche the legend " Pro sigillo Confessionis”, referring to the secrecy of confession. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, "he created models of great sweetness, idealisedbeauty, oval faces, [and] was an excellent portraitist." He developedmainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissionsbut in the knowledge that he hada solid market of buyers for his artworks. Amongst his preserved works, we highlight the paintings on copper"Divine Shepherd" and "Our Lady ofLoreto" from the Museo de América in Madrid; the "Medallion of a friar with the Nativity" and "Saint John of Nepomuk" from LACMA; the "Virgen de la Merced" from the Blaisten Museum; and the ten paintings from the "Cycle of the Life of the Virgin" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting." Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain."

Estim. 13 000 - 20 000 EUR
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