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SANDÚ DARIE (Roman, Romania, 1908 - Havana, Cuba, 1991). Untitled. Oil on canvas. Signed in the lower right corner. Attached certificate issued by Pedro de Oraá. Measurements: 70 x 100 cm; 74 x 104 cm (frame). Red, yellow, blue and black on white trace in this painting an intimate cartography and at the same time an imaginary pictographic language. Sandu Darie's avant-garde works are unclassifiable in that they attempt to eliminate the boundaries between art and craft. Despite Mondrian's influence, Darie's pieces complexify the integration of planes, imprinting on them a peculiar rhythm, beyond the formal minimalism that Mondrian proposed. A multidisciplinary artist, he worked in different fields of the artistic field, among which sculpture, painting, drawing, ceramics, scenographic design and theatrical costume design stand out. He began his academic training in Paris in 1926 in the university field of law. However, his interest in art and the artistic atmosphere of Paros introduced Saurdu Darie to the world of art in a self-taught way. During this period the artist combined his training in France with his participation in progressive magazines and newspapers in Romania and France, in which he made humorous drawings. In 1940 he joined the French army as a volunteer, arriving a year later in Cuba. On the island he began to make humorous drawings, which achieved a great reputation, making him a reference artist since 1942. Since 1949, the year of his first exhibition in New York, he began his artistic relationship with Gyula Kosice, founder of the group "Arte Madí", thus becoming part of the exhibitions of this group and the publication of articles in the group's magazine. Between 1958 and 1961 he was a member of the renowned group of artists "Diez Pintores Concretos", and in 1964 he made, together with Enrique Pineda Barnet, the documentary "Cosmorama. Spatial Poem No. 1", an experimental study of forms and structures in movement, during the 70's his production followed a line of projects for urban architectural environments using kinetic art as a language. In 1982 he was juror of the Salón Paisaje'82, Museo Nacional de Bellas Artes, Havana and in 1988 juror of the III Salón de Premiados, Museo Nacional de Bellas Artes, Havana, Cuba.Sandú Daire Laver, is one of the most outstanding figures of Cuban art. He is one of the main precursors of Abstraction in both its lyrical and geometric aspects. Being an example of his experience on geometric abstraction this plastic work, which by its formal and structural characteristics could be executed during the 50's. Besides being one of the maximum representatives of kinetic art. Among his numerous recognitions, it is necessary to emphasize the Honorary Mention of the VIIII Salón de Pintura y Escultura del Museo Nacional de Bellas Artes de La Habana in 1956 and his appointment as Honorary Member of the Royal Academy of Fine Arts of The Hague (Holland) in 1975, the Museo Nacional Centro de Arte Reina Sofía in Madrid, and numerous private collections around the world, as well as institutions such as the Casa de las Américas in La Hanana (Cuba) and the MoMA in New York, among others.

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SANDÚ DARIE (Roman, Romania, 1908 - Havana, Cuba, 1991). Untitled. Oil on canvas. Signed in the lower right corner. Attached certificate issued by Pedro de Oraá. Measurements: 70 x 100 cm; 74 x 104 cm (frame). Red, yellow, blue and black on white trace in this painting an intimate cartography and at the same time an imaginary pictographic language. Sandu Darie's avant-garde works are unclassifiable in that they attempt to eliminate the boundaries between art and craft. Despite Mondrian's influence, Darie's pieces complexify the integration of planes, imprinting on them a peculiar rhythm, beyond the formal minimalism that Mondrian proposed. A multidisciplinary artist, he worked in different fields of the artistic field, among which sculpture, painting, drawing, ceramics, scenographic design and theatrical costume design stand out. He began his academic training in Paris in 1926 in the university field of law. However, his interest in art and the artistic atmosphere of Paros introduced Saurdu Darie to the world of art in a self-taught way. During this period the artist combined his training in France with his participation in progressive magazines and newspapers in Romania and France, in which he made humorous drawings. In 1940 he joined the French army as a volunteer, arriving a year later in Cuba. On the island he began to make humorous drawings, which achieved a great reputation, making him a reference artist since 1942. Since 1949, the year of his first exhibition in New York, he began his artistic relationship with Gyula Kosice, founder of the group "Arte Madí", thus becoming part of the exhibitions of this group and the publication of articles in the group's magazine. Between 1958 and 1961 he was a member of the renowned group of artists "Diez Pintores Concretos", and in 1964 he made, together with Enrique Pineda Barnet, the documentary "Cosmorama. Spatial Poem No. 1", an experimental study of forms and structures in movement, during the 70's his production followed a line of projects for urban architectural environments using kinetic art as a language. In 1982 he was juror of the Salón Paisaje'82, Museo Nacional de Bellas Artes, Havana and in 1988 juror of the III Salón de Premiados, Museo Nacional de Bellas Artes, Havana, Cuba.Sandú Daire Laver, is one of the most outstanding figures of Cuban art. He is one of the main precursors of Abstraction in both its lyrical and geometric aspects. Being an example of his experience on geometric abstraction this plastic work, which by its formal and structural characteristics could be executed during the 50's. Besides being one of the maximum representatives of kinetic art. Among his numerous recognitions, it is necessary to emphasize the Honorary Mention of the VIIII Salón de Pintura y Escultura del Museo Nacional de Bellas Artes de La Habana in 1956 and his appointment as Honorary Member of the Royal Academy of Fine Arts of The Hague (Holland) in 1975, the Museo Nacional Centro de Arte Reina Sofía in Madrid, and numerous private collections around the world, as well as institutions such as the Casa de las Américas in La Hanana (Cuba) and the MoMA in New York, among others.

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"LOLÓ SOLDEVILLA"; Dolores Soldevilla Nieto (Pinar del Río, Cuba 1901-Havana, 1971). Untitled, 1956. Mixed media on canvas. Signed and dated on the back. Provenance: Gallery of the Missions, Montevideo. Measurements: 40 x 56 cm; 45 x 54 cm (frame). In this work we can appreciate the influence of Geometric Abstraction and kineticism of the European avant-garde, treated from a perspective where the minimal elements are articulated in a dynamic dialogue, in which circles, inclined triangles and diagonal bands function as a demiurgic alphabet. The tension between harmony and imbalance, the stable and the mobile is sought. Loló Soldevilla is considered one of the most relevant figures of Geometric Abstraction and Kineticism, both for her achievements during her career and for her efforts to promote Cuban art inside and outside the borders of her country. He always showed a political involvement through his art, both in his country and abroad, taking an active part in the campaigns to help the Spanish Republic after the outbreak of the Civil War. His artistic career always stood out for experimentation, not only stylistically but also technically, creating works in different media such as sculpture, engraving and drawing. His artistic career began in 1948, influenced by his friendship with Wifredo Lam, who encouraged and supported him in his beginnings in the world of painting. In 1949 he settled in Paris, where he studied at the Grande Chaumière Academy, making frequent trips and exhibitions in Cuba to show his work. In 1951 she entered the workshop of Dewasne and Pillet, where she remained for two years, and attended a course on engraving techniques by Hayter and Cochet, maintaining and promoting creative exchanges with the School of Paris. Linked to the 26th of July Movement, she was forced to live a clandestine life, since during the pre-revolutionary period she collaborated in Diario de la Marina, Carteles, Información, El País, Avance, Porvenir, Tiempo en Cuba and Survey, as well as in the Parisian publications Combat and Arts. After the revolutionary triumph of 1959 she joined the newspaper Revolución as editor and during the 1960-61 academic year she established herself as professor of plastic arts at the School of Architecture of the University of Havana. From that moment on Dolores Soldevilla combined her artistic career with her teaching work at the University's School of Architecture and at the Granma newspaper. Thanks to her aesthetic approaches, the Grupo Espacio emerged and she was a member of the Diez Pintores Concretos group; she was a member of the UPEC and the UNEAC and collaborated in Bohemia. During his life his work was exhibited in relevant artistic spaces such as the Palace of Fine Arts of Cuba, in Caracas (Venezuela), Paris, in Valencia, Valladolid (Spain), Czechoslovakia, etc, achieving a great recognition of his work at a global level. Today his work is preserved in numerous private collections around the world and in institutions such as the National Museum of Fine Arts of Cuba (where the main collection is kept).