Posts Tagged ‘Pablo Picasso’

Design | The Fine Art of Sun Worship

Friday, May 30th, 2014

AGAY, c 1930. Roger Broders (1883-1953)
Estimate £6,000 > 8,000





The Art of Travel
Christie’s,
London, UK
18th June 2014

Villa America. It sounds like the title of a film. Was it one of those shown in the 2014 Cannes Film Festival that ended last week? No. But if the villa and its inhabitants had never existed, then the festival might never have been established at all in this area of the South of France, and to have a tan may never have become fashionable.

By the late 19th century rail networks were so widespread that the French Riviera / Côte d’Azur had become an accessible and attractive destination for wealthy northern Europeans – Russians, the English – seeking a winter escape. To accommodate them, all along the coast luxury hotels were established. Casinos flourished. From spring to autumn, everything closed. But then Gerald and Sara Murphy, a well-to-do American couple, who had escaped their families’ mutual dissatisfaction with their marriage and become the toast of avant garde Paris, holidayed on the Riviera in the summer of 1921. Promising to return the following year, they convinced the grand Hotel du Cap in Antibes to remain open so that their friends could come to see them and have somewhere to stay.


MONACO, 1932. Robert Falcucci (1900-1989)
Estimate £15,000 > 20,000


ANTIBES, c 1928. Roger Broders (1883-1953)
Estimate £6,000 >8,000


COTE d’AZUR,1931. A M Cassandre (1901-1968)
Estimate £10,000 > 15,000


THE FRENCH RIVIERA FOR PERPETUAL SUNSHINE, 1930.
Roger Broders (1883-1953)
Estimate: £4,000 > 6,000


Far from ordinary friends, the Murphy’s friends were extraordinary writers and artists, among them Picasso, Ernest Hemingway, Fernand Léger, Jean Cocteau, Pablo Picasso, Cole Porter and Dorothy Parker. Significantly, two others were F Scott and Zelda Fitzgerald. Although the Murphys themselves and some of their friends recognised much more of F Scott and Zelda in the characters, it is widely accepted that the Murphys were later to become the models for Nicole and Dick Diver in Fitzgerald’s book Tender is the Night (1934).

In the meantime, the Murphys, who with their glamorous, arty friends would appear to have popularised the fine art of sunbathing, which quickly became fashionable and every summer in succeeding years would draw ever-increasing numbers of sun-seeking visitors to the Côte d’Azur, decided to stay, buying the house at Cap d’Antibes they called Villa America.

The colourful and graphic posters of the era in Christie’s forthcoming sale The Art of Travel, in London, were exhibited throughout the Cannes Film Festival at the JW Marriot Cannes.


Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier


Share this post
Facebook Twitter Linkedin

Sculpture | Alexander Calder: The Swedish Collection

Friday, February 8th, 2013

Contemporary Art Evening Auction
Sotheby’s
London, UK
Sale: 12th February, 2013
Exhibition: 9th-12th February, 2013

Red Skeleton, 1945
Painted metal and wire standing mobile
Estimate £150,000 – 200,000

Untitled, 1954
Painted metal and wire standing mobile
Estimate £150,000 – 200,000

Red Yellow and White, 1955
Painted metal and wire standing mobile
Estimate £150,000 – 200,000

The Red Base, 1969
Painted metal and wire standing mobile
Estimate £150,000 – 200,000


A large collection of modern and contemporary art assembled by an unnamed Swedish individual that includes works by Pablo Picasso, Alberto Giacometti, Marc Chagall, Max Ernst, Natalia Goncharova and Tom Wesselman will be sold at Sotheby’s over the coming months.

Four delightful Alexander Calder pieces from the Swede’s collection are the opening lots in Sotheby’s Contemporary Art Evening Auction, and are amongst a phenomenal list of prized items from a wide variety of other sources, alongside which – as with all items exhibited in the viewing galleries – they can be viewed, free of charge.

Calder (1898 – 1976) was immensely popular in Sweden during the 1960s and 70s, when this collection was being assembled, and interestingly – an indication of the country’s particularly receptive attitude to modernism during the post-war period – the first donation to the Moderna Museet, which opened in Stockholm in 1958, had been a Calder.

These four items, all of them miniatures – the largest 40.3 x 30.5 x 10.5cm/15 7/8 x 12 x 4 1/8 inches – have a red theme, and were produced at intervals between 1945 and 1969. Also in this sale is another and unrelated Alexander Calder piece, produced around 1927, and typical of his earlier work, a wire figure on a wooden base, representing John D Rockerfeller – a clever homage to one of the USA’s most recognisable businessmen, the great philanthropist is gently caricatured in a golfing pose. Following a visit to Mondrian’s studio in 1930, Calder made his first wholly abstract compositions and invented the moving kinetic sculptures, dubbed mobiles by Marcel Duchamp, in 1931. By 1943, following a major retrospective at New York’s Museum of Modern Art, Calder had begun seeking a way of creating more complex sculptural forms. Red Skeleton, produced in 1945, and the earliest of the sale items, dates from this period of experimentation and exhibits Calder’s new technique of piercing alternating planes. The use of wire and coloured organic forms in this and the other three works, imbues them with irrepressible energy and demonstrates the sculptor’s vituoso technical prowess. Calder was an artist with an extraordinary zest for life: his bright, joyful colours were an invitation to everyone to enjoy his work as much as he enjoyed making it.

Tell us what you think
The Blog is about art, architecture, gardens, books, design and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

Share this post
Facebook Twitter Linkedin

Photography | Auctions | Portraits of Women

Friday, November 9th, 2012

Modern & Contemporary Photographs
Yann Mouel
Drout
Paris, France
Sale: 9th November, 2012

Photographies
Sotheby’s
Paris, France
Sale: 16th November, 2012

Photographies
Christie’s
Paris, France
Sale: 16th & 17th November, 2012

Modern & Contemporary Photography
Villa Grisebach
Berlin, Germany
Exhibition: 23rd–27th November, 2012
Sale: 28th November, 2012

Are real women, as portraiture subjects for photography under-represented? Maybe. A glance through the catalogue of today’s Yann Le Mouel auction of Modern & Contemporary Photographs in Paris – one of four major European photography auctions this month – reveals that of the 261 lots some 42 are portraits of well-known 20th century male figures or groups, among them: politician Fidel Castro, artists Pablo Picasso and Andy Warhol, musicians Johnny Hallyday, Serge Gainsbourg, The Rolling Stones and The Beatles, Billy Idol, fashion designer Yves Saint Laurent, and photographer Donald McCullin. Although many unidentified females appear, often nude, partially-clothed or in a couple of instances, pornographic poses, famous or even identified women are rather less in evidence. Of the few labeled ladies, Princess Diana in tiara and pearls, photographed by Patrick Demarchelier, Colette by Janine Niepce and Weegee’s Norma Devine at Sammy’s Bar, New York, 4 December, 1944, strike a bold presence.

To mark the 65th anniversary of Magnum Photos, Sotheby’s Paris is offering a unique set of 65 images dedicated to the nude – an unusual subject for this co-operative, whose photographers are better known for chronicling world events – a very mixed bag of works in which images by Henri Cartier-Bresson and Eve Arnold are included alongside those from the younger generation of Magnum photographers, such as Paolo Pellegrin and Harry Gruyaert. Jane Mansfield and Marylin Monroe are amongst the mainly female subjects, of whom few others are identified. Elsewhere in the same sale, there’s an unusual full length photograph of Lizica Conreanu, Romanian dancer and member of Diaghilev’s Ballet Russes posed in a dance position, in the artist’s studio, by sculptor Constantin Brancusi, together with a stark, asymmetrical, untitled head and shoulders portrait of a woman by Dora Maar. Diane Arbus offerings include Woman with a Briefcase and Pocketbook, N.Y.C., 1962 and topless, Waitress, Nudist Camp, N.J., 1963. Bold, explicit images from Helmut Newton’s Big Nudes series, each identified by first name only, are also on offer.

A print of Peter Lindbergh’s The Wild Ones, shot in New York in 1991 that features super-models, Cindy Crawford, Tatjana Patiz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder and Stephanie Seymour is included in the Christie’s sale in Paris, next weekend. There’s a couple of pictures of Kate Moss, too, and hot American art photographer Alex Prager’s Eva, from the series Week-end, 2009. All beautiful, but do models really count as famous people? Perhaps a few, like Kate Moss, transcend their clothes-horse role and become celebrities, in the process taking on tangible personality. Striking close-ups by Man Ray of mannequins push female anonymity to the limit, however his striking, uncompromising profile of the surrealist artist, Bona, 1955 – who, with a little research, it was possible to discover is Bona de Mandiargues – has profound substance. Peter Beard’s Karen Blixen in Rungstedland for the End of the Game, Dec. 3rd, 1961 is up close and feels very personal. Here too, Cecil Beaton’s multiple-exposure, portrait of actress Beatrice Lillie, shot around 1930, makes a strong statement. Interestingly, (always referred to as ‘first wife of László Moholy-Nagy‘) Lucia Moholy’s 1926 portrait of artist Lily Hilderbrandt, is one of the few images of named women, in these four November auctions, photographed by a woman. Another is Annie Liebovitz’s remarkable Louise Bourgeois, New York, from 1997, being sold at Berlin’s Villa Grisebach, where 184 lots are on offer, varying in content from recent architectural photography by minimalist photographer Hiroshi Sugimoto, Boring Photographs, 2000, 468 C-type prints by Martin Parr, and works by Daido Moriyama, to 1950s and 60s images by Will McBride and much earlier stuff from photography pioneers such as Karl Blossfeldt. Images of identifiable women, again, are few in number but there is a very sensuous, sexually-liberated, colour portrait of Marilyn Monroe, shot in 1962, from the man who surely captured her character and vivacity better than any other, Bert Stern – a snip at an estimated €1.000-1.500. There’s also a characterful and beguiling, 1976 close-up by Robert Lebeck of Romy Schneider in a tweed flat cap, smiling, with a cigarette in the corner of her mouth. Jackie Kennedy and her Sister at the Funeral of Robert Kennedy, New York, 1968, by the same photographer and showing the grieving sisters, kneeling side by side, hands clasped in prayer, draws the emotions in another direction. Milton H Greene’s 1952 portrait of Marlene Dietrich – recognisable from her swathe of blonde hair and perfectly-shaped legs – whose face isn’t shown, cleverly turns the negative aspect of anonymity on its head.

Anonymity itself is of course compelling and single names – probably often invented, sometimes with the intention of obscuring the the identity of the sitter or of adding exotic cachet – tantalising. Full, real names, however, lift the veil and bring the viewer into direct contact with the subject, whatever the sex, allowing us the privilege of intimacy and them the dignity of existence and perhaps a deserved place in history.

Images from top
From the Villa Griesbach sale:
Louise Bourjois, New York, 1997
Annie Leibovitz
Gelatin silver print

Marylin Monroe, From ‘The Last Sitting’, 1962
Bert Stern
C-Print, 1978. Kodak-Paper

Marlene Dietrich, 1952
Milton H Greene
Vintage gelatin silver print with gouache

From the Christie’s sale:
Karen Blixen in Rungstedland for the End of the Game, Dec. 3rd, 1961
Peter Beard
Gelatin silver print mounted on cardboard, enhanced with ink, gouache
and blood

Kate Moss, Little Nipple, 2001
Rankin
Archive Lambda print

Tell us what you think
The Blog is about art, architecture, gardens, books, design and anything else that currently interests us which we think might interest you

Share this post
Facebook Twitter Linkedin

Art | Picasso in Black & White

Friday, October 5th, 2012

Picasso Black and White
Solomon R Guggenheim Museum
New York City, USA
5th October, 2012 – 23rd January, 2013

Using only black, white and grey with sometimes a hint of ochre or perhaps blue, Pablo Picasso (1881-1973) was master of the monochrome. And although the Guggenheim’s press release attempts to convince us that this aspect of the artist’s work is frequently overlooked, who among us could forget or have failed to notice Picasso’s austere and sombre Guernica, 1937 – his knee-jerk reaction to the merciless bombing by German and Italian warplanes, at the behest of the Spanish Nationalist forces, of a defenceless Basque village during the Spanish Civil War.

Picasso, who is reputed to have said that colour ‘weakens’ apparently purged colour from his work in order to highlight its formal structure. And while his coloured pieces could sometimes be as brash as Pop art or compete with any of the more outlandishly-hued Van Gogh paintings, in cleverly concentrating solely on Picasso’s black and white output, the exhibition’s curators reveal an understated, often alluringly delicate side to the artist through works that provide insight with regard to his experimental, pioneering investigations into Cubism and his delving into Surrealism.

The Guggenheim’s phenomenal chronological presentation extending across Picasso’s entire 70-year career, includes significant loans—many of which have not been exhibited or published before—drawn from museum, private, and public collections across Europe and the United States, together with numerous works from the Picasso family and includes, among some 118 paintings, sculptures and works on paper, the tortured Head of a Horse, Sketch for Guernica.

Pablo Picasso Images from top
Tête de femme, profil droit [Marie-Thérèse], 1934
Collection of Aaron I. Fleischman
© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photograph, Courtesy Gagosian Gallery

L’accordéoniste, 1911
Solomon R. Guggenheim Museum, New York, Solomon R Guggenheim Founding Collection, by gift
© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photograph by Kristopher McKay. © The Solomon R Guggenheim
Foundation, New York

Tête de cheval, étude pour Guernica, 1937
Museo Nacional Centro de Arte Reina Sofía, Madrid, Bequest of the artist
© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photograph, © Archivo fotográfico Museo Nacional Centro de Arte Reina
Sofía, Madrid

L’homme à la pipe, 1923
Private collection, Courtesy Fundación Almine y Bernard Ruiz-Picasso
para el Arte
© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photograph by Eric Baudouin

La cuisine, 1948
The Museum of Modern Art, New York, Acquired through the Nelson A. Rockefeller Bequest, 1980
© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photograph, The Museum of Modern Art/Licensed by SCALA/Art Resource, New York

Tell us what you think
The Blog is about art, architecture, gardens, books, design and anything else that currently interests us which we think might interest you


Share this post
Facebook Twitter Linkedin

Sale + Exhibition | Klimt: Impressionist & Modern?

Friday, February 3rd, 2012

Impressionist & Modern Art Evening Sale
Exhibition: Sotheby’s, London, UK. 2nd – 8th February, 2012
Sale: Sotheby’s, London, UK. 8th & 9th February, 2012

It’s often argued that modernism began some time in the 1860s and ended in the 1970s, roughly spanning the period from the beginning of Monet’s painting career to Picasso’s death, and therefore including impressionism and cubism and a long and very diverse list of other ‘isms. Living and working within the prescribed time scale but not usually considered to fit comfortably into any particular ‘ism, it’s interesting that Sotheby’s should include a painting by Gustav Klimt in this sale of impressionist and modern works.

The first paintings recognised as impressionist were produced in the 1870s. Claude Monet was already 22 years old when Klimt (1862-1918) was born and, dying in 1926, outlived him. Georges Braque and Pablo Picasso gave birth to cubism in 1907, initiating the movement when they followed the advice of Paul Cézanne, who in 1904 had said artists should treat nature ‘in terms of the cylinder, the sphere and the cone.’ Picasso, born in 1881, 19 years Klimt’s junior, had an extraordinarily-long and prolific working life that finally ended in his ninety-second year, 1973.

Starting out as classically-trained artist with tremendous draughtsmanship skills, Klimt eschewed the formulaic work that was acceptable in Vienna and threw all he had into symbolism often with quite shocking results that rocked the establishment. But the landscape paintings he produced on his regular summer retreats in the latter part of his working life, harped back to earlier 19th century Viennese and Central European picturesque art that aimed to capture and glorify nature – then, only recently discovered by middle and upper class townspeople, jaded by their everyday, urban lives, seeking some form of escape – largely due to the invention and proliferation of the railways, and by the access to the countryside this new mode of transport afforded. In the latter decades of the century, however, the goal of Austrian painters like Emil Jakob Schindler and Eugen Jettel was to evoke the atmosphere of the rural world, often through paintings of otherwise banal countryside scenes, subject to adverse weather and light conditions. No-one could argue that Farmhouse with Birch Trees (Lakeshore with Birches) below, the painting coming up for auction at Sotheby’s is the most exciting of Klimt’s landscapes but it is a good example of his own obsession with nature and his absorption and blending of the many influences he gathered up and played around with.

For his portraits, Klimt drew heavily on his study of the same Japanese prints the impressionists had looked at before him; in his less familiar landscape work, he sketched and painted directly from nature and experimented with the brush techniques that the impressionists had invented, but very often finished the paintings in his studio. As in the portraits, the composition and framing of his landscape paintings was influenced by the typical cropping seen in early scenic photography. In many, the foreground is little more than a very prominent textured surface, as in Attersee 1, 1900, with landscape details and a thin sliver of sky squashed up at the top of the canvas; typical of the effect of looking at a scene through a wide-angle lens. There is evidence that Klimt used a telescope to flatten his townscapes, the buildings in which however, remained true rather than abstracted as in cubist treatments of similar subject matter. He looked closely at Van Gogh’s outlining and colouring; Klimt’s Avenue in Schloss Kammer Park, 1912, could easily be taken for a Van Gogh. He studied Seuerat’s pointilist system, adapting it to create depth in paintings that were essentially two-dimensional so that each remained one of what Renaissence polymath Leon Battista Alberti christened ‘Windows through which we look out into a section of the visible world.’

Ever curious, Klimt was an avid experimenter, but I think it’s safe to say that he was neither a cubist nor an impressionist.

Klimt certainly consorted with individuals who, evidently, had modern ideas; Otto Koloman Wagner (1841-1918) – Austrian architect and urban planner – among other contemporary mainland Europeans, is said to have become a proponent of Architectural Realism, and, mitigating the reliance on historical forms in the Jugenstil – an Austrian version of Art Nouveau – buildings he began to design in the 1890s, opened the door for what became modern architecture. And if I seem to be going off at a tangent: Wagner was one of the group of Austrian artists, sculptors and architects who resigned from the Association of Austrian Artists, the Künstlerhaus – similar to the Paris Salon – along with Klimt, Joseph Hoffmann, Koloman Moser and Joseph Maria Olbrich, nineteen in all, to form the Vienna Secession in 1897, asserting their right to be able to create what they wanted to create rather than having to adhere to strict, official guidelines. Gustav Klimt was the group’s first president. Interestingly, Moravian-born, Austrian architect Adolf Loos, who objected to the amount of surface decoration on Jugenstil buildings, didn’t join. Klimt’s poster for the First Exhibition of the Society of Pictorial Artists in Austria – the Secession, in 1898 in which he chose a classical Greek theme – Theseus about to liberate the youth of Athens from the tyranny of the Minotaur – is a tense stark, asymmetric, linear composition in black, red and gold on a yellow ground, strongly reminiscent of the painting style Mondrian was to adopt some 20 years later. In 1903 Hoffmann and Moser left to found the Wiener Werkstätte, a fine-arts society with the goal of reforming the applied arts that could be described as being a prelude to Germany’s seminal Bauhaus, founded by Walter Gropius in 1919.

But, was Klimt’s painting ‘modern’? His roots firmly in the 19th century, could he have ever felt at ease in the 20th. Had he lived longer and had more of his work survived – many paintings were confiscated from their Austrian Jewish owners and destroyed by the Nazis in 1938, while a great number of other works had been moved in 1943 to the ’safety’ of Schloß Immendorf in lower Austria, only to be destroyed when retreating SS troops set fire to the castle to prevent it falling into enemy hands – the problem of classification might have been somewhat simpler. I don’t know and it’s possible that Sotheby’s aren’t sure either.

Paintings from top:
Pablo Picasso, Buste d’homme, 1969
Private collection
£500,000-700,000

Claude Monet, Berges de la Seine près de Vétheuil,
1881
Private collection
Estimate £800,000-1,200,000

Gustav Klimt, Seeufer mit Birken (Lakeshore with birches), 1901
Private European collection
Estimate £6,000,000-8,000,000

Middle, top: Gustav Klimt, c.1909. Detail of original photograph by Pauline Hamilton.
Taken from Gustav Klimt, Landscapes. Edited by Stephen Koja. Published by Prestel, 2006

Please leave a comment
Look out for The Blog’s posts on art, architecture, gardens, books, design and anything else that interests me and I think might interest you

Share this post
Facebook Twitter Linkedin

Auction | The Art of the Artless

Friday, June 17th, 2011


Sotheby\’s video

Impressionist & Modern Art Evening Sale
Sotheby’s, London. Exhibition opens today. Sale 22nd June 2011

One gets, I suppose, so used from watching seasoned TV presenters on arts shows like The Culture Show, with the confiding, sometimes almost whisperingly confidential Andrew Graham Dixon and The South Bank Show’s urbane and smirkingly jovial Melvyn Bragg, to being invited in by come hither looks, knowing surreptitious winks or an exuberant gesturing of hands into the worlds of art and artists that we have come to expect a certain showmanship from those who deliver it into our homes.

I said in an earlier post how pleased I am to be on the emailing list of Sotheby’s; how wonderful it is that any member of the public is free to wander into their London galleries and see rare items of painting and sculpture that go on show for a very brief few days in the run up to an auction. Sotheby’s emailed updates often come with a Watch Video button that links to almost unbelievably static and dry, short films. The format is virtually always the same; one single or a series of Sotheby’s specialists talk for a very short time about the highlights of the forthcoming sale, waving their hands around a bit, otherwise expressing little emotion other than, maybe, mild embarrassment. They might just as well be presenting the weather. The latest update is a taster for their forthcoming Impressionist & Modern Art Evening Sale, the exhibition for which starts today. I find it oddly disconcerting that such experts appear to be so inhibited and uncomfortable standing in front of a succession of artworks spouting their stuff into a video camera with, apparently, little direction other than not to look directly into the lens – at least the weathermen look you in the eye. You get the impression that no-one else is in the room: that the camera operator, bored out of his mind, has perhaps wandered off somewhere and only pops back in afterwards to zoom in on details – later to be cut into the films –  of the works, in this case, a beautiful and emotive, finely-crafted, group sculpture by Alberto Giacometti, a passionately painted, double portrait by Pablo Picasso or a rare and exquisite townscape from Egon Schiele.

Sotheby’s website is well-designed – they know what they are about – so perhaps there’s some well thought through psychology at work here that goes over my head. Used car salesmanship techniques or barrow-boy yelling would undoubtedly frighten off reclusive art collecting billionaires, after all, the auction house wants itself taken seriously but surely, in return for parting with their millions, even billionaires deserve a little free, good quality entertainment.

Will you attend this Sotheby’s sale?
Any embarrassing public speaking moments you’d like to tell me about?

Please leave a comment

Share this post
Facebook Twitter Linkedin