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费利西亚诺-埃尔南德斯-桑切斯(Feliciano HERNÁNDEZ SÁNCHEZ,1936 年,阿维拉-2018 年,纳瓦尔卡内罗)。 孔雀 马口铁和玻璃。 尺寸:57 x 30 x 27 厘米(x257 x 30 x 27 厘米(x2)。 费利西亚诺-埃尔南德斯(Feliciano Hernández)最初在马德里圣费尔南多美术学院学习。1968 年,他在威尼斯双年展上展出了自己的作品。他的作品风格令人联想到加加洛、胡里奥-冈萨雷斯和何塞-卡瓦列罗等艺术家的作品。目前,他的作品被许多具有重要艺术价值的博物馆收藏,其中包括马德里索菲亚王后艺术博物馆、毕尔巴鄂美术博物馆、比利时奥斯坦德博物馆、美国阿拉巴马大学博物馆、圣克鲁斯-德特内里费街第一届国际雕塑展收藏馆、卡斯特利翁比利亚法梅斯当代艺术博物馆等。

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费利西亚诺-埃尔南德斯-桑切斯(Feliciano HERNÁNDEZ SÁNCHEZ,1936 年,阿维拉-2018 年,纳瓦尔卡内罗)。 孔雀 马口铁和玻璃。 尺寸:57 x 30 x 27 厘米(x257 x 30 x 27 厘米(x2)。 费利西亚诺-埃尔南德斯(Feliciano Hernández)最初在马德里圣费尔南多美术学院学习。1968 年,他在威尼斯双年展上展出了自己的作品。他的作品风格令人联想到加加洛、胡里奥-冈萨雷斯和何塞-卡瓦列罗等艺术家的作品。目前,他的作品被许多具有重要艺术价值的博物馆收藏,其中包括马德里索菲亚王后艺术博物馆、毕尔巴鄂美术博物馆、比利时奥斯坦德博物馆、美国阿拉巴马大学博物馆、圣克鲁斯-德特内里费街第一届国际雕塑展收藏馆、卡斯特利翁比利亚法梅斯当代艺术博物馆等。

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起始价格 400 EUR

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Attributable to Juan Sánchez Cotán, Holy Family, Granada school, 17th century Oil on canvas, canvas measures: 82 x 105 cm, framed measures: 97 x 118 cm. Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) was a Spanish painter, a disciple of Blas de Prado and influenced by some artists who worked in El Escorial, such as Luca Cambiaso or Juan Fernández Navarrete. Sánchez Cotán worked in Toledo, where he had an important clientele, until in 1603 he decided to enter the Cartuja as a lay brother, one of the most strictly observed religious orders, settling in Granada until his death on September 8, 1627, a festival of the Nativity of the Virgin, the same day that, according to Antonio Palomino, he had professed as a Carthusian in 1604. Antonio Palomino affirms that he was a disciple of Blas de Prado in Toledo, with whom he "excelled in painting fruit". Although it has not been possible to confirm documents, this learning relationship is plausible. Prado, who made frequent trips to El Escorial assimilating the Mannerist tendencies that were practiced there, would have been, according to literary sources, the creator of the Spanish still life, although none of his hands have been preserved. On the other hand, their friendly relationship and professional with Sánchez Cotán is accredited until the same year of his death in 1599. The testament that Sánchez Cotán drew up in 1603, when he was preparing to take the Carthusian habit, together with the inventory of his assets carried out by his executors, are the best source of information available for the knowledge of his human and professional trajectory up to that year. Reference bibliography: Ripollés, Carmen (2018). «The still lifes of Juan Sánchez Cotán and artistic ingenuity in early modern Toledo». Bulletin of the Museo del Prado XXXVI (54): 34-47.