2 Eugène BOUDIN (1824-1898)
Trouville, the jetties, high tide, 1897
Oil on panel
Signed and dated lower right
33.5 x 23.9 cm
Provenance :
Galerie Cardo, Paris.
Former Allard et Noël collection, Paris.
Bibliography: Robert Schmit, Eugène Boudin, tome III, Paris, 1973, n°3638, repr. p.389.
As is often the case with Boudin, what's astonishing is his ability to share with us
a sensation. The movement of the sea, the boats and the jetty incite us to reverie
and evoke those clear mornings when our vision flies farther than usual.
Then, unconsciously, it's our eyes that reconstruct the reliefs and shapes
suggested by the artist.
In 1887, in a letter responding to a rave review of his painting,
Boudin wrote: "I don't claim, believe it or not, to hold such a high position
among contemporaries; I'm isolated, a daydreamer who has taken too much pleasure in staying
in his corner and looking at the sky."
3 Albert LEBOURG (1849-1928)
End of day in Rouen, Corneille Bridge, 1893
Oil on canvas
Signed, located Rouen and dated lower right
38 x 61 cm
Bibliography
Léonce Bénédite, Albert Lebourg, ed. Galeries Georges Petit, Paris, 1923, no. 1435, p. 359, described as follows: Vue géné-
the Seine and the port. Effect of veiled sun peeking through the clouds. Orange reflections in the water.
Albert Lebourg was an early Impressionist. On his return from Algeria in 1879, the artist joined the
4th Salon with Nadar, alongside Manet, Pissarro, Monet, Degas, Caillebotte and others.
Lebourg took part in the last Impressionist Salon in 1886, alongside Gauguin, Seurat, Signac, Guillaumin...
In 1893, Lebourg enriched his color palette with exquisite tones after visiting the Japanese Exhibition
(Utamaro and Hiroshige) organized by Durand-Ruel.
6 Victor DE BUDT (1886-1965)
Woman in front of the hearth, 1908
Oil on canvas
Signed and dated lower right
55 x 77 cm
Victor de Budt trained at the Ghent Academy, with master J. Delvin.
Delvin. The press of the time wrote: "What is immediately
both in painting and engraving, is his subtle and spontaneous
his subtle and spontaneous way of searching for the soul of things. His
work is silent and pious. Silent in color, composition and appearance. Pious, because filled with the modesty and reverence
of religious souls before the grandeur of nature and the obscure secret
the obscure secret of existence. Everything, big or small, exudes
exudes a sense of eternity.
7 Théo VAN RYSSELBERGHE (1862-1926)
Nude with drapery, 1903
Oil on canvas
Signed monogrammed, dated and dedicated to Félix Fénéon
70 x 29.5 cm
This work will be included in the Catalogue raisonné de l'oeuvre
by Théo van Rysselberghe currently being prepared by
Olivier Bertrand.
Provenance: Former Felix Fénéon collection.
Exhibition: Paris, Musée du Quai Branly, Félix Fénéon
(1861-1944), les arts lointains, May 28 - September 29, 2019,
n°188(B), p.289.
Bibliography:
A composition with the same subject and a similar format is
reproduced under n°1904-002 in the catalog raisonné of
Théo Van Rysselberghe by R. Feltcamp, p. 344.
18th-century Italian frame in carved and gilded wood.
9 Jean-Gabriel DOMERGUE (1889-1962)
The Elegant Madame Estrangin, 1916
Oil on cardboard
Signed and dated lower left
61 x 50 cm
A certificate of authenticity by Madame Nicole
Geffroy dated May 23, 1990 will be given to the
to the purchaser.
Provenance :
Mr. Henri Frisch-Estrangin, Monte-Carlo.
Our painting is a precious testimony to
of Jean-Gabriel Domergue's early career as a
portraitist. Giovanni Boldini's fame and influence
and his influence can be seen in the elongated
elongated brushstrokes, the fluidity of the veils and the
and the vibrancy of Domergue's colors. The
of this young woman's complexion comes into its own
against a light blue background, and the prettiness of her face
face is enhanced by an aigrette in her red hair.
red hair.
10 Auguste HERBIN (1882-1960)
Small house by the water, 1906
Oil on canvas Signed lower right
33 x 41 cm
Lining
Bibliography: G. Claisse, Herbin, catalog raisonné de l'oeuvre peint, Les Éditions du Grand
Pont, Lausanne, 1993, no. 89, p. 294, repr.
11 Charles CAMOIN (1879-1965)
Flowers in a stoneware pot, 1950
Oil on canvas
Signed lower right
65.5 x 54 cm
A certificate of authenticity by Anne-Marie Grammont-Camoin dated April 4, 2022 will be given to the buyer.
(incorrect dimensions).
This work will be included in the catalog raisonné
of Charles Camoin being prepared by the Archives
Camoin.
Bibliography: Danièle Giraudy, Charles Camoin, ed.
La Savoisienne, Marseille, 1972, no. 797 (dimensions
dimensions).
The author specifies that our picture was painted in
Saint-Tropez and that this work was sold at the
at Hôtel Drouot in 1969.
"My instinct is to look for colors
that sing. Air and light envelop things.
things. It's color that creates form through a series
series of nuances. My palette is my music;
but I don't have a technique, I have sensations."
Charles Camoin
12 Émile BERNARD (1868-1941)
Scène galante, 1892
Oil on cardboard
Signed and dated lower right
52.5 x 43 cm
A certificate of authenticity by Mrs. Béatrice Recchi Altarriba, the artist's granddaughter, dated May 27, 2019, will be given to the buyer.
Provenance: Eugène Boch Collection.
Eugène Boch, Belgian painter close to Vincent Van Gogh and Paul Gauguin. His friendship with Émile Bernard led to them exchanging
works, including our own.
In 1892, following his quarrel with Gauguin, Émile Bernard distanced himself from the École de Pont-Aven, of which he had been a founding member. The painter
made a singular return to a classicism inspired by the Old Masters, favoring drawing over color.
13 Raoul DUFY (1877-1953)
The park, 1902
Oil on canvas
Signed lower right
81 x 65 cm
The authenticity of this work was confirmed by Madame Fanny Guillon-Laffaille on November 28, 2019.
Exhibition:
Palais Galliera, Paris, March 12, 1964.
Bibliography:
Marcelle Berr de Turique, Raoul Dufy, ed. Librairie Floury, 1930, p.67.
Maurice Laffaille, Raoul Dufy, catalog raisonné, tome I, ed. Motte, Geneva, 1972, no. 35, p. 35, repr.
In 1902, Raoul Dufy was a student at the Beaux-Arts in Paris, thanks to a scholarship offered by the city of Le Havre. Berthe Weil noticed the young
25-year-old artist and exhibited him from 1903 on the walls of her gallery, in the company of Metzinger, Marquet, Matisse...
16 André DERAIN (1880-1954)
Portrait of a Woman, circa 1940-45
Oil on canvas mounted on wood panel
Signed lower right
22 x 17 cm
A certificate of authenticity by Madame Geneviève Taillade dated June 13, 2022 will be given to the buyer.
Beautiful 19th-century Italian frame in openwork wood
and gilded wood.
After the death of Paul Guillaume in 1934, Derain had no
no longer had a contract with an art dealer. And so,
in the midst of the Second World War, he welcomed Pierre Matisse's exhibition
in his New York gallery. Derain reclaims spontaneity and the exercise of improvisation
to integrate it into the execution of the painting as a
rhythm and movement.
19 Louis VALTAT (1869-1952)
Fruit bowl on an entablature
Oil on canvas
Signed lower right
24 x 33 cm
This work will be included in the Catalogue raisonné of Louis Valtat's work in preparation
by the Archives of the Association "Les amis de
de Louis Valtat". A notice of inclusion by
Julien Valtat dated October 5, 2019 will be given to the
the purchaser.
20 Louis VALTAT (1869-1952)
Landscape with river
Oil on canvas
Signed lower right
24 x 30 cm
Framed for conservation.
Provenance: Georges Blache sale, Versailles,
16/03/1975, lot 129.
Exhibition: Geneva, Petit Palais, Retrospective
centenary of Louis Valtat, June 26 - September 21
1969 (label on back).
21 Pierre-Eugène MONTEZIN (1874-1946)
Rainy day in Bessé (Sarthe), the Café de l'Union,
circa 1942
Oil on canvas
Signed lower left
73 x 73 cm
The authenticity of this work has been confirmed by
Mr. Cyril Klein-Montezin.
Born into a wealthy Parisian family, Pierre-Eugène
Montézin trained with his father, a lace designer, and then worked in the house of
decoration firm. An avid hunter and fisherman
he soon developed a taste for landscapes.
Despite ten consecutive rejections at the Salon, his perseverance-
his perseverance was finally rewarded in 1903. After
After the First World War, Montézin's virtuoso
Montézin's virtuoso painting met with great success and
him several awards. He was elected president
of the Jury of the Salon des Artistes Français, won the
the Prix Rosa Bonheur, became Officier de la Légion d'Honneur
d'Honneur and elected member of the Académie des
Beaux-Arts de Paris in 1940. Influenced by Impressionism, the artist dedicated his life to paying tribute to the landscape and its light. Today, the painter's
the Musée du Luxembourg, the Musée du Petit Palais
Luxembourg, Musée du Petit Palais, Musée de Dreux
and the Palais des Beaux-Arts in Bordeaux.
37 Marie VOROBIEFF MAREVNA (1892-1984)
Floral composition on a window background
Oil on canvas
Signed lower left
92 x 65 cm
Russian-born artist Maria Bronislavovna Vorobyeva-Stebelska was
named Marevna by the writer Maxime Gorki after a princess
from the Russian fairy tale. In 1912, at the age of 20, the young painter moved to La Ruche
in Paris to study drawing and painting. She made friends with
the great artists and writers of the early 20th century, including Chagall,
Max Jacob, Matisse, Picasso, Soutine... Marevna is renowned for combining
combining elements of Cubism with Pointillism.
45 Kees VAN DONGEN (1877-1968)
La baigneuse, circa 1920
Watercolor on paper
Signed lower right
19.3 x 11.5 cm
Bibliography:
To be compared with the oil on canvas "La baigneuse, Deauville", 1920,
reproduced as no. 128 in Louis Chaumeil, Van Dongen, Pierre
Cailler éditeur, Geneva, 1967.
53 Victor SIMON (1903-1976)
Christ, 1965
Oil on canvas
Signed and dated lower right
38 x 46 cm
Two works by Victor Simon
Simon, "Reviendra-t-il?" (1953) and
"Du moi inconn
54 Victor BRAUNER (1903-1966)
Landscape, 1953
Oil on canvas
Monogrammed and dated 16.X.1953 lower right, dedicated lower left
24 x 33 cm
Certificate of authenticity by Samy Kinge dated March 22, 2022.
Known for his Surrealist paintings, Brauner was expelled from the group in 1949 for
for refusing to join in the dismissal of Matta, accused by André Breton of "intellectual disqualification and moral ignominy".
This exclusion left a void and prompted the artist to question himself:
Should he use his subconscious to paint? Does the mental reconstruction of reality
make sense? Brauner moves towards a purification of his pictorial language and
to a simplified, more primitive and archaic style of writing, with a deliberate
to children's drawings.
The simplicity of our painting is reminiscent of cave frescoes, and we can see that the artist is emerging from his confinement and rediscovering the outside world.
56 Giorgio DE CHIRICO (1888-1978)
Il grande trovatore, 1973/1988
Polished and patinated bronze
Signed, titled and justified on II/EA on the base
Stamp of Fonderia Bonvicini
H. 77 cm
A certificate of authenticity by Fondazione Giorgio e Isa de Chirico dated May 21, 1989 will be given to the buyer.
Provenance :
Former Ripamonti collection, Milan.
Bibliography for similar copies:
Porcella (a cura di), De Chirico, catalogo della mostra alla Ca' d'Oro, Venezia,
Arte Grafica De Angelis, Roma, 1974, n. 3.
Hommage à Giorgio de Chirico, Galerie François Petit, Paris, 1975.
Car. Naz. della Scultura It. Bolaffi, n°5, Milan, 1981.
G. Dalla Chiesa, De Chirico Scultore, Mondadori, Milan, 1988, p. 100.
Bibliography for similar copies:
Porcella (a cura di), De Chirico, catalogo della mostra alla Ca' d'Oro, Venezia, Arte Grafica De Angelis, Roma, 1974, n. 3.
Hommage à Giorgio de Chirico, Galerie François Petit, Paris, 1975.
Car. Naz. della Scultura It. Bolaffi, n°5, Milan, 1981.
G. Dalla Chiesa, De Chirico Scultore, Mondadori, Milan, 1988, p. 100.
Returning to his metaphysical work, Giorgio de Chirico had a volume version of Il grande trovatore published in 1973, inspired by the eponymous painting he had painted.
eponymous painting he had painted in 1917.
Produced in 1988 at the request of the Fondation de Chirico, our bronze is part of the second edition cast at the Bonvicini Foundry in Verona to mark
the centenary of the artist's birth.
In its original size, it was produced in 10 editions between 1988 and 1991, including a special edition for the Fondazione Giorgio e Isa de
Chirico.
58 Hans HARTUNG (1904-1989)
P1967-A56, 1967
India ink, pastel and scratch on baryta board
Signed and dated lower left
73 x 100 cm
Certificate of authenticity by the Hartung-Bergman Foundation dated May 10, 2023.
"Once I got used to improvising, I worked directly on canvas, without sketches, whatever the size.
whatever the size. It's absolutely necessary, the moment you start working
it's absolutely necessary to be immediately "in the thick of things". Most of the time, I know in advance what I'm going to do.
what I'm going to do. The work is brief, but very concentrated. A lot of things happen at a speed
speed. I'm forced into it by my mental process. First, color organizes
space, in which the line will be executed in a very precise manner, like something
that can no longer be erased or corrected.
Hans Hartung
59 Paul AÏZPIRI (1919-2016)
Harlequin, circa 1955
Oil on canvas
Signed lower right
73 x 60 cm
Paul Aïzpiri, painter and lithographer, trained at the École Boulle and the Beaux-Arts
in Paris. In 1942, his first solo exhibition was held at Galerie
Parvillée in Paris. Between 1943 and 1945, the artist participated in the Salon d'Automne.
His style oscillates between Fauvism and Expressionism, with a rich palette
palette and particular attention to material effects, creating an unreal, almost
unreal, almost fantastic atmosphere. In Japan, an entire museum
dedicated to him in Onomichi. Art critic Gérald Schurr describes Aïzpiri's work as follows
This Basque painter's enamel-toned writing conceals a melancholy background
melancholy beneath an oriental palette and complex graphics.
65 Luis FEITO LOPEZ (1929-1991)
Composition with red circle on red background, 1972
Oil on canvas
Signed lower right
On the back countersigned and dated, bears the inventory number
162 x 130 cm
Exhibition: Galerie Bixio 2, Milan, 1989, repr. p. 25.
70 Bengt LINDSTRÖM (1925-2008)
The Hand of Jupiter, circa 1967
Oil on canvas
Unsigned
162 x 130 cm
Provenance :
Estate of Bengt Lindström, ref. 730/67-0692.
Inventory of the Sundsvalls studio by Marc Ottavi, 2010, no. 400.
Inventory by Michèle Ben Sadoun, widow of the artist, no. 730.
Bukowskis inventory, no. 444.
71 Victor VASARELY (1908-1997)
Dorog, 1963/1990
Painting on canvas
Signed lower right
On the back countersigned, titled, dated, bears an inventory number 1075
61 x 50 cm
A certificate of authenticity by Pierre Vasarely will be given to the buyer.
The sixties saw the appearance on our walls of a visual art form that was different from figuration, abstraction and all other pictorial representations.
pictorial representations. Optical art soon influenced architecture, furniture design and everyday objects.
In 1965, Victor Vasarely became known as the inventor of Op Art, thanks to an exhibition at the Museum of Modern Art in New York.
in New York.
"According to wave mechanics, matter is sometimes a wave, sometimes a corpuscle. For a long time now, I've been observing a wave-like tendency in my own work.
my own work a wave-like tendency and another corpuscular one, hence the image borrowed from Physics. Everything that was once
figure or form, has crystallized in my "structures", composed of plastic units: waves and corpuscles. This meeting
between two seemingly opposed disciplines, the rational in physics and the empirical in aesthetics, has long troubled me.
disturbed me for a long time, as I never consciously drew inspiration from the exact sciences." Victor Vasarely
4 Henri LEBASQUE (1865-1937)
Reflections in the Water, circa 1912
Oil on canvas
Signed lower left
60 x 73 cm
Bibliography:
To be compared with "Matin aux Andelys", painted in 1913, reproduced under no. 374 in D.
Bazetoux, Catalogue raisonné de l'œuvre d'Henri Lebasque, Tome 1, ed. Arteprint, 2008.
By 1910, the art scene was ostensibly renouncing the gaiety of Impressionism, but Lebasque
remained faithful to it. From 1912, the artist spent time on the lower Seine, in Les Andelys, and even
to settle there permanently. This landscape offers him clear, harmonious tones and a limpid atmosphere
atmosphere against a backdrop of screaming cliffs. The painter's eye rested here, his style broadened and he rediscovered
the banks of the river, the tall trees reflected in the calm... (Source: Paul Vitry)
A certificate of authenticity may be requested from the cataloguer at the buyer's expense.
1 Paul Désiré TROUILLEBERT (1829-1900)
Landscape at Picquigny-sur-Somme, circa 1880
Oil on canvas
Signed lower left
54 x 65 cm
Bibliography: Marumo-Maier-Müllerschön, Paul
Désiré Trouillebert, catalog raisonné of painted works
éd. Thombe, 2004, no. 0215, repr. p. 285.
Trouillebert has often been compared to Corot. It is true
that some of Trouillebert's paintings, because of their
quality, have been sold as Corot by some unscrupulous
unscrupulous dealers, but the sincerity of the two painters rules out any imitation of one
of one by the other. From 1880, Trouillebert made several
to the Picardy region on several occasions.
The painter appreciated small rivers and streams
and watercourses, and often placed a figure of modest dimensions to emphasize the majesty
and wildness of the predominant landscapes.
This work will be presented for sale in a loan frame that can be purchased separately from Atelier 29: www.atelier29-drouot.fr
39 Jean METZINGER (1883-1956)
Cat with a bowl of milk, circa 1950
Oil on canvas
Signed lower right
27 x 35 cm
Certificate from Marc Ottavi dated October 25, 2023.
The work will be included in the Catalogue raisonné of Jean Metzinger's work, currently being prepared by the Comité Jean Metzinger (M. Ottavi, R. Maket, M. Mielniczuk).
Provenance:
Gift of the artist to Dr. Daminot
Two-tone, two-sided cat portraits appeared in Jean Metzinger's paintings around 1945. À
period, the painter reinvented figurative cubism, playing with optical effects that animate and de-
his figures. By depicting the subject in motion in space and time, the artist takes up an essential argument
an essential argument developed in Du Cubisme, a book he wrote with Albert Gleizes in 1912.
Jean M
61 Thanos TSINGOS (1914-1965)
Abstraction, red background, circa 1956
Oil on canvas
Signed indistinctly lower right
60 x 73 cm
These three works will be reproduced
in the Catalogue raisonné of
by Marc Ottavi.
Miniature: extremely high-quality, important gold/enamel work with loupe painting, Alessandro Cittadini Rome 1856
Approx. 55 x 50mm, approx. 25g, 18K gold, frame enamelled and set with large paste stones in old cut, oval miniature, painted on mother-of-pearl, top quality, signed and dated 1856. Alessandro Cittadini was an important miniature painter in Italy and worked until approx. 1860. The rarity of the object presented here is the execution in gold.
PÍNTURA ESCOLA PORTUGUESA, "Santo Agostinho"
-
PÍNTURA ESCOLA PORTUGUESA, "Santo Agostinho" Pintura a óleo sobre tela, Santo Agostinho, escola portuguesa séc. XIX-XX, assínada L. Esteves Lopes. Dim.: mancha 143x100 cm., moldura 151x115x7 cm. Falhas e destaque na polícromia, craquelê, apresenta restauro e repintes, moldura com faltas e defeitos.
PINTURA ESCOLA EUROPEIA, "Nossa Senhora"
-
PINTURA ESCOLA EUROPEIA, "Nossa Senhora" Pintura a óleo sobre tela, Nossa Senhora e Mártires, escola europeia séc. XIX - XX, assínada. Dim.: mancha 93x71 cm., moldura 116x92x8,5 cm. Falhas e destaque na polícromia, craquelê, apresenta restauro.
PINTURA "Santa Catarina de Alexandria"
-
PINTURA "Santa Catarina de Alexandria" Pintura a óleo sobre tela. Representação "Santa Catarina de Alexandria", escola Portuguesa, séc. XIX. Moldura em madeira pintada de dourado.
Dim. Mancha: 80x57 cm; Moldura: 95x71x5 cm. #
Grade com sinais de insectos xilófagos, moldura com defeitos e falhas.
Tela com restauros.
PINTURA ESCOLA RUSSA
-
PINTURA ESCOLA RUSSA Pintura a óleo sobre tela escola russa, motivo de marinha, assínado (não identificável), séc. XIX/XX.
Tela com restauros e limpeza, substituição da grade.
Dim: 50x65 cm.
ARTUR BUAL (1926-1999), "Cristo"
-
ARTUR BUAL (1926-1999), "Cristo" Óleo sobre tela, assinado e datado de 1992. Obra emoldurada.
Dim. Mancha: 81x55,5 cm.
Dim. Moldura: 102,5x76cm. #
Artur Bual (1926-1999)
Artur Mendes de Sousa Bual (1926-1999), conhecido como Artur Bual, nasceu em Lisboa e morreu na cidade da Amadora. Desenvolveu atividade como pintor, escultor e ceramista. Começou a pintar aos 14 anos, quando ingressou no curso de pintura da Escola de Arte António Arroio. Na década de 50, fixou-se na Amadora onde montou o seu estúdio, numa cave da Rua de Santo António. Bual assume-se como a principal referência do gestualismo na pintura portuguesa, género inicia produção em 1958 e onde alcança a sua expressão estética mais elevada. Foi bolseiro da fundação Calouste Gulbenkian, em Paris, durante 1959/60. Criou arte de forma incessante e instintiva, sendo descrito como um pintor abstracionista ou gestualista. Em paralelo foi diretor plástico de obras de teatro, diretor gráfico da Revista “Catavento” e ilustrador. Em vida, participou em mais de 60 exposições nacionais e internacionais, nomeadamente, em França, EUA, Holanda, Bélgica, Espanha, Checoslováquia, Macau, Brasil e Hong-Kong. Recebeu o 3.º Prémio da Exposição “Um Americano em Paris” (1952), Prémio Nacional Amadeo de Souza Cardoso (1959), 3º Prémio do Sindicato dos Críticos de Arte na Bienal de Paris (1959), 1º Prémio do II Salão de Arte Moderna da Junta de Turismo da Costa do Sol (1964), 2º Prémio do Concurso de Pintura da BP (1966), Prémio Artes Plásticas de revistas portuguesas (1983 e 1984) e o Prémio Movimento Arte Contemporânea (1997). Desde 1999 que a Galeria Municipal da Amadora adotou o seu nome.
FERNANDO GASPAR (n.1966), "12"
-
FERNANDO GASPAR (n.1966), "12" Acrílico sobre tela, assinada e datado de 2022. Titulo "12" da série "Each Place III". Obra emoldurada.
Dim. Mancha: 96x122 cm.
Dim. Moldura: 100x125x5 cm. #
Fernando Gaspar (n. 1966)
Fernando Gaspar nasceu em Portugal, a 10 de Março de 1966. Artista autodidata, Gaspar iniciou sua carreira com a prática do desenho e da aquarela. Totalmente dedicado à actividade desde 1986, ano em que participou pela primeira vez em exposições.Expõe regularmente nas principais cidades de Portugal, explorando e adoptando novos suportes, materiais e técnicas. A sua primeira exposição individual fora de Portugal ocorreu em 1995, na Bélgica. Vencedor de alguns prêmios nacionais, participou em mais de 40 exposições coletivas na Europa , Ásia e América do Sul, e realizou mais de 45 exposições individuais em Portugal e em vários outros países europeus. Ao longo dos últimos 27 anos, o foco de seu trabalho evoluiu para uma abordagem cada vez mais reflexiva e contemporânea.
LUZIA LAGE (1962). "Todos os Sentidos"
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LUZIA LAGE (1962). "Todos os Sentidos" Acrílico sobre tela. Assinada na frente e verso. Possui certificado de autenticação.
Dim. Aprox: 50x60 cm #
Luzia Lage (1962)
Luzia Lage (1962) estudou Desenho e Pintura no Instituto de Artes Visuais, Design e Marketing (IADE) e Pintura na Faculdade de Belas Artes de Lisboa. A sua primeira exposição individual ocorreu em 1996, vindo desde aí a expor regularmente. A sua pintura figurativa já foi descrita como onírica, com referências culturais miscigenadas e que recorda a pintura mexicana. Representa com frequência meninas e mulheres no trabalho, mas também produz naturezas mortas e outras histórias do imaginário pessoal. Em 2009, recebeu o 1ª Prémio na categoria de Artes Plásticas, "Personalidade Feminina de Portugal", por votação nacional e, em 2015, o 1º Prémio de Pintura e Fidelidade à Arte, pela Vera World Fine Art Festival.
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