A.lain R. T.ruong

23 avril 2014

Triptyques: Jean Nouvel's latest design of a series of limited edition mirrors on view at Gagosian London


Jean Nouvel was born in Fumel in 1945 and studied at the Ecole des Beaux-Arts, Paris. Photo: Dave J Hogan / Getty Images for Gagosian Gallery.

I want colored mirrors; they are the key to this story. Some are fixed, others shift, others are angled…sometimes two or three models are in different scales, their meaning is established by the interior. —Jean Nouvel

LONDON - Following Jean Nouvel's exhibition of exclusive designs Table au KM and Boite à outils at Gagosian Paris Project Space in 2011, Gagosian London, once again in collaboration with Galerie Patrick Seguin, is pleased to present Triptyques, his latest design of a series of limited edition mirrors.

Like many of his Modernist predecessors who worked across related disciplines, Nouvel describes himself as an architect who also makes design. His non-architectural products derive from his architectural commissions, or from alternative visions that correspond to his building design, but which are linked to specific use. Regardless of the scale of the object or the architecture, Nouvel employs the same rigorous approach, imbuing the objects and accoutrements of everyday life with a lyricism that is striking and emotive yet austere and utilitarian.

As the title suggests, Triptyques are three-paneled colored mirrors, each in an edition of six. The central panel is fixed to the wall, while flanking and cantilevered panels are engineered to be movable. Four mirrors will be presented, each different in color and orientation. As Nouvel says, "The mirror is a piece that you want to live with, in which you reflect intimate images—images from your home; you can capture a piece of a window in it somewhere." The available colors range from dark orange and light orange, to blood orange to red, Nouvel’s signature color.

The mirror finds its essence whether open or closed. When opened these mirrors bring out the importance of color in their surroundings; when closed, they preserve a certain austere elegance.

Jean Nouvel was born in Fumel in 1945 and studied at the Ecole des Beaux-Arts, Paris. A key protagonist of intellectual debate in France regarding architecture, he was a founding member of Mars 1976 and Syndicat de l’Architecture. Nouvel’s buildings include Musée du Quai Branly, Paris; Fondation Cartier pour l'Art Contemporain, Paris; Lucerne Culture and Congress Centre, Switzerland; Torre Agbar, Barcelona; and Guthrie Theater, Minneapolis. The Louvre Abu Dhabi, the National Museum of China (NAMOC), and the Philharmonie de Paris at La Villette are among the projects currently in planning. Nouvel’s distinctions include the Aga Khan Award for Architecture for the Institut du Monde Arabe (1989); the Gold Medal of the Royal Institute of British Architects (2001); the Wolf Prize in Arts (2005); and the Pritzker Prize (2008). Exhibitions of his work—including “Jean Nouvel,” a retrospective at Centre Georges Pompidou, Paris (2001)—have been held throughout the world, from New York to Rio de Janeiro and Tokyo.

In 1995 Nouvel created the Jean Nouvel Design Agency (JND) to develop design and interior architecture projects in parallel with the architectural practice Ateliers Jean Nouvel. Several series of furniture and industrial objects have been developed and commercialized, from the Less collection (Unifor), coffee service (Alessi), lighting (Artemide & Troll), partitioning systems (Methis), seating (Roset), and tables (Cassina & Molteni).

Nouvel recently collaborated with Gagosian in the design of a 1850 square meter gallery at Le Bourget, Paris, which opened in October 2012. He will also design a limited edition mirrored shoe in collaboration with Ruco Line, Italy, to accompany the London exhibition.


Jean Nouvel, Miroir A, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 1). Photo by Mike Bruce


Jean Nouvel, Miroir A, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 2). Photo by Mike Bruce


Jean Nouvel, Miroir B, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 1). Photo by Mike Bruce


Jean Nouvel, Miroir B, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 2). Photo by Mike Bruce


Jean Nouvel, Miroir B, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 3). Photo by Mike Bruce


Jean Nouvel, Miroir B, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 4). Photo by Mike Bruce


Jean Nouvel, Miroir C, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 1). Photo by Mike Bruce


Jean Nouvel, Miroir C, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 2). Photo by Mike Bruce


Jean Nouvel, Miroir D, 2014. Walnut and colored mirrors. Dimensions variable. Ed. of 6. (View 1). Photo by Mike Bruce


"JEAN NOUVEL: Triptyques". Installation view. Photo by Mike Bruce


"JEAN NOUVEL: Triptyques". Installation view. Photo by Mike Bruce


"JEAN NOUVEL: Triptyques". Installation view.Photo by Mike Bruce


"JEAN NOUVEL: Triptyques". Installation view. Photo by Mike Bruce

Posté par Alain Truong à 16:14 - - Commentaires [0] - Permalien [#]
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Milwaukee Art Museum partners with Centre Pompidou for original Kandinsky restrospective


Wassily Kandinsky, Painting with a Red Mark, 1914. Oil on canvas, 51 3/16 × 51 3/16 in.© Centre Pompidou, MNAM-CCI/ Adam Rzepka / Dist.RMN-GP© 2014 Artists Rights Society (ARS), New York / ADAGP, Paris.

MILWAUKEE, WIS.- Renowned as a painter, printmaker, watercolorist, theoretician, and Bauhaus teacher, Wassily Kandinsky’s prodigious accomplishments span almost all the major artistic movements of the first half of the twentieth century, a time of experimentation and innovation in art, conducted against the upheavals of a society entering the modern world. Beginning Thursday, June 5, 2014, the Milwaukee Art Museum will present a major retrospective of this modern master, side by side with his contemporaries in the Blaue Reiter movement. 

Kandinsky: A Retrospective is conceived by the Centre Pompidou, Paris, one of the major repositories of Kandinsky’s works, and organized together with the Milwaukee Art Museum. It is co-curated by Angela Lampe, the Curator of Modern Art at the Centre Pompidou, and Brady Roberts, Chief Curator at the Milwaukee Art Museum. 

The centerpiece of the exhibition will be the reconstruction of an extraordinary lounge Kandinsky created for the 1922 Juryfreie exhibition in Berlin. Made of large scale mural panels, the lounge was meant as a total environment to immerse the viewer in a complete aesthetic experience. It thus predates and anticipates the development of artistic installations and environments later in the century. These murals, reconstructed in 1977 under the supervision of his widow Nina Kandinsky for the opening of the Centre Pompidou, will be presented in the United States for the first time at the Milwaukee Art Museum. 

The exhibition follows the artist through several decades to reveal in five chapters every one of Kandinsky’s creative periods, moving from his native Russia to turn-of-the-century Munich and Murnau, Germany, awash with bold ideas. From there the exhibition returns to revolutionary Russia, before exploring the heady intellectual world of the German Bauhaus, and finally, the dynamic art world of Paris before and during World War II. 

From Art Nouveau’s sinuous, organic forms, to Fauvism and Blaue Reiter’s shocking colors, to Kandinsky’s signature, deeply spiritual abstraction, to the mysteries of Surrealism to the constructivism of the Bauhaus period and the biomorphic forms of the thirties —Kandinsky experienced it all led the way to the invention of radical new forms of modern art. 

The exhibition features over eighty works and documents drawn from the world famous Kandinsky collection of the Centre Pompidou which has one outstanding particularity: nearly all of these works belonged to the artist himself and have been given by his widow Nina Kandinsky to the French State. It allows the visitor the unique opportunity to discover an exhibition made with Kandinsky’s favorite works, those he kept with him all his life. 

The selection is enriched by the exceptional German Expressionist holdings at the Milwaukee Art Museum. A number of paintings from the Bradley Collection will add a complementary art historical dimension to the narrative. The works of Kandinsky’s Munich peers from Milwaukee’s collections will provide rich artistic visual dialogues for visitors. Dazzling works by Alex Jawlensky, August Macke, and Marianne Werefkin, in addition to the Museum’s world-renowned holdings by Kandinsky’s lover and colleague, Gabriele Münter, will gain a new depth from their proximity to her one-time teacher. Two major loans from the Guggenheim Museum and the Walker Art Center will complete this stunning journey through Kandinsky’s career. 

The Milwaukee Art Museum is the premier venue for Kandinsky: A Retrospective. This exhibition celebrates one of the key figures in Modern art by showcasing two extraordinary institutions: the exhaustive collections of works by the artist in the Centre Pompidou; and the superb work of the related Blaue Reiter artists in the Mrs. Harry Lynde Bradley Collection at the Milwaukee Art Museum,” said Daniel Keegan, director of the Milwaukee Art Museum. “This international collaboration tells the story of some of the most dynamic and influential modern art created in the first half of the twentieth century.” 


Wassily Kandinsky (Russian, 1866 – 1944), Achtyrka—A Neighboring Dacha on the Pond (Achtyrka—Eine Nachbar-Datscha am Teich), 1917. Oil on canvas board, 8 1/4 × 11 5/16 in. Centre Georges Pompidou, Musée national d’art moderne, Paris. Bequest of Mrs. Nina Kandinsky in 1981 AM 81-65-39 © Centre Pompidou, MNAM-CCI/ Service de la documentation photographique du MNAM / Dist.RMN-GP© 2014 Artists Rights Society (ARS), New York / ADAGP, Paris


Wassily Kandinsky (Russian, 1866–1944), Fragment I for Composition VII (Center), 1913. Oil on canvas, stretchers, 34 15/16 x 39 7/16 in. (88.74 x 100.17 cm). Milwaukee Art Museum, Gift of Mrs. Harry Lynde Bradley M1958.12Photo credit Larry Sanders © Artists Rights Society (ARS), New York / ADAGP, Paris 

Posté par Alain Truong à 15:53 - - Commentaires [0] - Permalien [#]
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The largest flawless vivid blue diamond in the world leads Christie's Geneva Magnificent Jewels Sale



THE BLUE is estimated to fetch US$21,000,000 – 25,000,000 / SFr.19,000,000 – 23,000,000. Photo: Christie's Images Ltd 2014.

GENEVA.- Christie’s announces the sale of THE BLUE, the largest flawless vivid blue diamond in the world. Weighing 13.22 carats this sensational stone will lead Christie’s auction of Magnificent Jewels to be held in Geneva on 14 May 2014 at the Four Seasons Hotel des Bergues. Just six months earlier, Christie’s Geneva sold THE ORANGE, the largest fancy vivid orange diamond in the world for US$35.5 million, a world record for an orange diamond and a world auction record price per carat for any diamond at US$2.4 million. THE BLUE is estimated to fetch US$21,000,000 – 25,000,000 / SFr.19,000,000 – 23,000,000 and is the leading gem of the 250 lot strong sale which is estimated to fetch a total in the region of US$80 million / SFr.73 million. 

The sale will also feature many important coloured and colourless diamonds such as THE OCEAN DREAM, at 5.50 carats the largest fancy vivid blue-green diamond in the world to come to auction, with an estimate of US$7,500,00 – 9,500,000 / SFr.6,300,000 – 9,000,000. The combination of its size, natural origin, hue, and saturated color makes it an extremely unusual occurrence.


THE OCEAN DREAM is estimated to fetch US$7,500,00 – 9,500,000 / SFr.6,300,000 – 9,000,000. Photo: Christie's Images Ltd 2014. 

The Light Pink cut-corned square-cut diamond of 76.51 carats set as necklace center piece by Leviev (estimate: US$7,000,000-10,000,000 / SFr.6,300,000 – 9,000,000), is another rare coloured diamond in the sale. A pear-shaped D-colour Flawless diamond of 75.97 carats, estimated at US$13,500,000 – 15,500,000 / SFr. 12,300,000 – 14,000,000, will lead the large offering of perfect diamonds on 14 May. 


A magnificent coloured diamond necklace, by Leviev is estimated to fetch US$13,500,000 – 15,500,000 / SFr. 12,300,000 – 14,000,000. Photo Christie's Image Ltd 2014


The Collection of a European Gentleman’ comprises a total of 14 jewels including The Rajah diamond, an old-mine brilliant-cut diamond of 26.14 carats (estimate: US$3,000,00 – 5,000,000 / SFr.2,600,000 –4,400,000). It belonged to Mrs. Mary J. Morgan (d. 1885), second wife of Charles Morgan (1798-1878). Little was known about Mrs. Morgan’s collection of works of art and jewellery until it was auctioned in March 1886.

Tiffany & Co. bought two important diamonds from the collection, including The Rajah and sold them within a month to another Bostonian socialite, Mrs. Isabella Stewart Gardner, the collector and philanthropist who founded a museum of the same name. In 1924, the diamonds changed hands again and went into a private collection until 1997, when Christie’s Geneva sold The Rajah for the first time above its pre-sale estimate of SFr.1.8-2.2 million. 



The Rajah diamond is estimated to fetch US$3,000,00 – 5,000,000 / SFr.2,600,000 –4,400,000Photo: Christie's Images Ltd 2014.

The highlight of ‘A PASSION FOR JEWELS’ and the iconic piece of the sale is a sensational Belle Époque Devant-de-Corsage brooch, crafted in 1912 by Cartier (estimate: US$7,000,000-12,000,000 / SFr.6,500,000-11,000,000). Salomon Barnato Joel (1865-1931), a director of De Beers Consolidated Diamond Mines from 1901 to 1931 in South Africa, took four of his most beautiful diamonds to Cartier in 1912, asking for a brooch to be designed around them. This great example of a Belle Époque jewel, centered upon a pear-shaped diamond of 34.08 carats, alongside a heart-shaped diamond of 3.54 carats and two navette-shaped diamonds of 23.55 and 6.51 carats, set in the delicate, so called Lily-of-the-Valley setting, used by Cartier at the time and mastered by their famous workshop “Atelier Henri Picq”, is very rare to appear at auction. This unique jewel which combines magnificent diamonds, a delicate design, a remarkable make and a famous provenance will be offered for the second time at Christie’s in 23 years. 


A Belle Époque diamond devant-de-corsage brooch, by Cartier is estimated to fetch US$7,000,000-12,000,000 / SFr.6,500,000-11,000,000. Photo Christie's Image Ltd 2014


Twenty pieces from the Estate of Baroness Thyssen-Bornemisza de Kaszon will be another highpoint of the auction. This section is led by a natural pearl and diamond necklace estimated at US$550,000-700,000 / SFR.500,000-700,000 with Royal provenance. The impressive pearl was in the personal jewellery casket of Queen Elizabeth of Prussia (1801-1873). Upon her death her jewels were given to the Crown Treasury. When Empress Augusta Victoria and her husband William II had to leave Germany to take exile in the Netherlands in 1919, the pearl and other jewels accompanied them. After the Empress’ death in 1923, William II sold the jewels, including the pearl, via the Swiss gem dealer Alphonse de Sondheimer, who listed the impressive pearl in his inventory made in Doorn. How the pearl entered the Baroness Thyssen-Bornemisza’s collection is not recorded but her husband, Baron Heinrich Thyssen-Bornemisza was also living in exile in the Netherlands, escaping Hungary, at the time of the private sale of the Royal Prussian jewels and presumably purchased it during the time.


An impressive natural pearl and diamond necklace, with Royal provenance, is estimated to fetch US$550,000-700,000 / SFR.500,000-700,000. Photo Christie's Image Ltd 2014



The cushion-shaped Alexandrite of approximately 21.41 carats (illustrated right) is accompanied by a report of the Swiss Gemological Institute stating that the Alexandrite is of Russian origin, with no indications of treatment and a distinct colour-change from green to purple, and an appendix letter indicating that “a natural Alexandrite from Russia of this size and quality is very rare and exceptional and thus can be considered a very exceptional treasure of nature.” (Estimate: US$500,000 – 700,000 / SFr.450,000 – 650,000).


A rare and important spinel bead necklace is another unique jewel Christie’s Geneva will offer this season (estimate: US$1,500,00 – 2,000,000 / SFr.1,350,000 –1,800,000). The seven Mughal engraved spinel beads date back to the 17th century. Mughal emperors have had, for centuries, a particular love for precious stones. The Timurids, ancestors of the Mughals, had begun the tradition of engraving titles and names on stones of outstanding quality and, along with diamonds and emeralds, large spinel beads were certainly their favourite. As much as these gems were a symbol of the opulence and dignity of the empire, they were also treasured as protective talismans. Important engraved spinel beads are scarce. A very fine collection can be seen in Qatar where the Museum of Islamic Art exhibits an important necklace with eleven Mughal spinel beads, for a total weight of 877.23 carats, three of them engraved with the names of Emperor Jahangir and one with that of Emperor Shah Jahan. The present necklace, engraved mainly with the names of Emperor Akbar Shah and his successor Emperor Jahangir Shah, is an exceptionally rare opportunity for any collector to own a museum quality Mughal jewel. 


Natural pearls are very much in demand and Christie’s Geneva is pleased to offer a five-strand necklace composed of eighty-seven, eighty-one, seventy-six, seventy-one and sixty-five natural pearls, coming to a total of 380 natural pearls of exceptional quality stated by the appendix report from the SSEF, Swiss Gemological Institute, issued on 17 November 2013 (estimate: US$2,000,000 – 3,000,000 / SFr.1,800,000 – 2,700,000). 

Considered as the greatest contemporary jeweller, Joel Arthur Rosenthal, JAR is synonymous of exceptional craftsmanship. Passion for perfectionism are terms freely used in a world that revolves around exaggerated sensation, but these two words seem to perfectly sum up the extraordinary creativity and drive of this unique creator. JAR jewels are extremely rare and whenever they come up for auction they attract the interest of the world’s most demanding collectors. The spring sale in Geneva will offer an elegant three rectangular-cut diamond ring estimated at US$330,000 – 460,000 / SFr.300,000 – 420,000 with proceeds to benefit ‘Ospendale Pediatrico Bambino Gesu’ in Roma and the Pediatric department of the ‘Ospedale San Paolo’ in Milan.


A three-stone diamond ring, by JAR is estimated to fetch US$330,000 – 460,000 / SFr.300,000 – 420,000Photo Christie's Image Ltd 2014


In 2006, to celebrate their centenary, Van Cleef & Arpels has launched 'Une journée à Paris', an homage collection to the Maison's birthplace: Paris. Each of the unique creations was inspired by one of the six selected iconic sights of the City of Light: Jardin des Tuileries, Ile de la Cité, Avenue Montaigne, Eiffel Tower, Opera Garnier and Place Vendôme. Evoking the rich burgundy velvet grand drapes of the Opéra Garnier, lot 170 a pair of mystery-set ruby and diamond ear pendants, entitled Entrée en scène form part of this exceptional collection estimate: US$ 200,000 – 310,000 / SFr.180,000 – 280,000

Christie's announces online-only sale of Impressions in Clay: Pablo Picasso Ceramics


Photo Christie’s Images LTD 2014.

NEW YORK, NY.- Christie’s will offer an exceptional ceramics collection in Impressions in Clay: Pablo Picasso Ceramics featuring Property from the Estate of Edgar M. Bronfman from May 2nd to May 16th. Following the overwhelming success of previous dedicated Picasso ceramics sales at Christie’s, the sale will be offered exclusively as an online-only auction and features 47 superb works with prices beginning at $1,200. Top lots include Picasso’s Tripod (A.R. 125) (estimate: $50,000-70,000) and a complete 8-piece Service Corrida set (A.R. 416-423) (estimate: $70,000-90,000). The entirety of the Bronfman ceramics collection will be on view in New York during the Prints & Multiples exhibition (April 18-22), and highlights will be presented during the Impressionist & Modern view (May 2-6). 

Highlighting the sale are 35 Picasso ceramics from the Estate of Edgar M. Bronfman. Mr. Bronfman’s thoughtfully acquired collection was formed over the course of several decades and spans the categories of Impressionist & Modern Art, American Art, Post-War and Contemporary Art, Prints & Multiples, and Decorative Arts. In addition to the impressive group of Picasso ceramics, a rare set of 19 silver Picasso plates will also be offered from the Bronfman estate in the May 6th Impressionist & Modern Art Evening Sale. The collection boasts a further selection of works by such blue-chip artists as Picasso, Monet, Degas, and Avery, among others. The collection will be sold in New York, London, and Hong Kong, as well as in this online-only sale. 



Pablo Picasso Wood-Owl (A.R. 542) Partially glazed white earthenware pitcher painted in colors, 1968 Estimate: $6,000-8,000 © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo Christie’s Images LTD 2014.

Pablo Picasso Tripod (A.R. 125) Glazed white earthenware vase painted in colors, 1951 Estimate: $50,000-70,000 © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Pablo Picasso Corrida (A.R. 182) White earthenware dish painted in brown and green with white enamel, 1953 Estimate: $6,000-8,000 © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.


Pablo Picasso Grey Face (A.R. 206) Partially glazed white earthenware dish painted in colors, 1953 Estimate: $7,000-10,000 © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.Photo Christie’s Images LTD 2014.


Pablo Picasso Service Corrida (A.R. 416-423) The complete set of eight partially glazed white earthenware dishes painted in colors Estimate: $70,000-90,000 © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo Christie’s Images LTD 2014.

Posté par Alain Truong à 09:57 - - Commentaires [0] - Permalien [#]
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A red-ground silk jacket with dragon motif & An embroidered red-ground satin silk robe with blue flower design, China, late Qing


A red-ground silk jacket with dragon motif, China, late Qing dynasty, Guangxu periodPhoto Nagel.

Shoulder worn, stained. L. 105 cm. Estimate 1800 €


An embroidered red-ground satin silk robe with blue flower design, China, late Qing dynasty, Guangxu periodPhoto Nagel.

Silk partly discoloured, wear due to age. L. 110 cm. Estimate 600 €

Nagel. "Asiatische Kunst". 9.5.2014 - http://www.auction.de/

Posté par Alain Truong à 09:38 - - Commentaires [0] - Permalien [#]
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22 avril 2014

Pontormo and Rosso. Diverging Paths of Mannerism at Palazzo Strozzi


Jacopo Carrucci, known as Pontormo (1494-1557), Visitation, 1528. Oil on panel; 202 x 156 cm. Carmignano, Pieve di San Michele.

Firenze (Florence) - Palazzo Strozzi will present a major exhibition entitled Pontormo and Rosso. Diverging Paths of Mannerism, devoted to the work of the two painters who were without question the most original and unconventional adepts of the new way of interpreting art in the Italian Cinquecento which Giorgio Vasari called the “modern manner”. This landmark exhibition brings together for the first time a selection of some 80 works – paintings, frescoes, drawings and tapestries – accounting for 70% of the artists’ output. Loaned by major museums in Italy and around the world, many of the works have been especially conserved for the occasion. 


Giovan Battista di Jacopo, known as Rosso Fiorentino (1494-1540, Madonna and Child with the Young St John the Baptist, c. 1515? Oil on panel; 102.1 x 77.5 cm. Frankfurt, Städelsches Kunstinstitut, inv. no. 952.

Florence is the ideal place to stage such an exhibition as so many of the two artists’ most important works, which 20th century critics acclaimed as masterpieces of Mannerism, are to be found in the city and in the surrounding region of Tuscany. This extraordinary examination of their careers offered by the Palazzo Strozzi exhibition has been made possible by the generous collaboration of such eminent Italian museums as the Galleria Palatina in Palazzo Pitti, the Uffizi and the Museo di Capodimonte, and such leading foreign institutions as the National Gallery in London, the National Gallery of Art, Washington, the Musée du Louvre, Paris, and Vienna’s Kunsthistorisches Museum, without which such a complete retrospective of the two artists’ work could not have been possible. 


Jacopo Carrucci, known as Pontormo (1494-1557), Double Portrait of Friends, 1523-1524. Oil on panel; 88.2 x 68 cm. Venice, Fondazione Giorgio Cini, Galleria di Palazzo Cini, Cini 40025.

Pontormo and Rosso both trained under Andrea del Sarto yet each maintained an independent approach and enormous freedom of expression. Pontormo, always a favourite with the Medici, was a painter open to stylistic variety and to a renewal of the traditional approach to composition. Rosso, on the other hand, was more tightly bound to tradition, yet was fully capable of flights of originality and innovation. He was also much influenced by Cabalistic literature and esoteric works.


Giovan Battista di Jacopo, known as Rosso Fiorentino (1494-1540, Virgin and Child enthroned with Saints John the Baptist, Anthony Abbot, Stephen and Jerome1518. Oil on panel; 172 x 141.5 cm. Florence, Galleria degli Uffizi, 
inv. 1890 no. 319?

The exhibition sets out to offer a new interpretation and a critical illustration of the cultural complexity and variety of expression of a movement conventionally labelled “Mannerism”, within which Rosso and Pontormo are generally held to be the two sides of the coin. Vasari, while situating them both within the “modern manner”, hinted at their different ideological and stylistic approaches. Thus, right from the outset and as the title implies, the exhibition clearly states that each of the two artists represents an independent approach in the complex political and cultural dynamics of the city.


Jacopo Carrucci, known as Pontormo (1494-1557), Portrait of a Gentleman with a Book, c. 1541-1542. Oil on panel; 88.2 x 71.5 cm. Private collection.

Curated by Antonio Natali, director of the Uffizi Gallery, and Carlo Falciani, a lecturer in art history, the exhibition will showcase new philological, historical and iconological research into the work of the two artists since 1956 when Palazzo Strozzi hosted Exhibition of Pontormo and Early Florentine Mannerism, the last major monographic exhibition devoted to this leading player in a movement which had only recently been fully reinstated by the critics. Its aim is to provide visitors with a new awareness of the artistic spirit that drove two of the great masters of Italian Cinquecento painting.


Giovan Battista di Jacopo, known as Rosso Fiorentino (1494-1540, Holy Family with the Young St John the Baptist, c. 1521-1522. Oil on panel; 63.5 x 42.5 cm Baltimore, Walters Art Museum, inv. 37.1072.

The exhibition will be divided into eight sections, allowing visitors to explore different aspects of the two great artists’ work while at the same time tracking their history in chronological order, from their earliest training to the artistic legacy. Designed as two parallel monographic overviews mirroring one another, the exhibition displays the work of Pontormo and Rosso in chronological sequence, enabling visitors to appreciate the two painters’ profoundly different approaches to artistic expression. In addition to the chronological installation, visitors will encounter a number of themes such as draughtsmanship, portraiture, or the interest in orthodox (or indeed heterodox) religious sentiment that surfaces in so much of their work.


Jacopo Carrucci, known as Pontormo (1494-1557), Portrait of a Bishop (Monsignor Niccolò Ardinghelli?), c. 1541-1542. Oil on panel; 102 x 78.9 cm. Washington, D.C., National Gallery of Art, Samuel H. Kress Collection, 1961.9.83.

The exhibition is introduced by three large frescoes from the Basilica of the Santissima Annunziata, detached years ago and recently conserved: Andrea del Sarto’sJourney of the Magi, Pontormo’s Visitation and Rosso’s Assumption, alongside the San Marco Altarpiece painted by Fra Bartolomeo and Albertinelli. This group, illustrating the two painters’ shared yet multifaceted youthful experience, sets the scene for the subsequent contrast between them by highlighting the differences that could already be detected in their immature works. Pontormo’s penchant for naturalism, in the vein of Leonardo da Vinci, was a tendency totally alien to Rosso who, conversely, showed a greater affinity with the muscularity of Michelangelo’s cartoon for the Battle of Cascina.


Giovan Battista di Jacopo, known as Rosso Fiorentino (1494-1540, Portrait of a Manc. 1524. Oil on panel; 88.7 x 67.9 cm. Washington, D.C., National Gallery of Art, Samuel H. Kress Collection, Inv. K1735, 1961.9.59, 1611.

The early sections of the exhibition use the harmonious and “flawless” (Vasari) painting of Andrea del Sarto to highlight Pontormo’s and Rosso’s gradual move away from his style right up to their final choice of directions in 1517, a crucial year represented by the juxtaposition of Andrea del Sarto’s Madonna of the Harpieswith Rosso’s Santa Maria Nuova Altarpiece, both from the Uffizi, and Pontormo’s Madonna and Child with Saints from the church of San Michele Visdomini. The latter has recently undergone sensitive cleaning to reveal its extraordinarily subtle palette.


Jacopo Carrucci, known as Pontormo (1494-1557), The penitent Saint Jeromec. 1529. Tempera on panel; 105 x 80 cm. Hannover, Landesmuseum, inv. KM 132.54

Two rooms are devoted to the portraits of Pontormo and Rosso. About a dozen works serve to emphasise their different approaches to this genre, from their youth through to their maturity. The portraits come from the Louvre, London’s National Gallery, the Museo di Capodimonte, the Fondazione Giorgio Cini in Venice and the National Gallery in Washington, and comprise 80% of all extant portraits painted by the two artists.


Giovan Battista di Jacopo, known as Rosso Fiorentino (1494-1540, The Death of Cleopatrac. 1525. Oil on panel; 88 x 75 cm. Braunschweig, Herzog Anton Ulrich - Museum Braunschweig, Kunstmuseum des Landes Niedersachsen, inv. GG 479.

A section devoted to drawings, also displayed in chronological order, allows visitors to examine the development of the styles and techniques that the two painters used in their preparatory drawing for painting. Included are such emblematic drawings by Pontormo as the study for the angel in the Annunciation in the Capponi chapel in the church of Santa Felicità in Florence, and the study of a nude from the lost cycle of frescoes once in the choir of the Basilica of San Lorenzo, Florence. Among the major drawings by Rosso are a study of Saint Sebastian loaned by the Gabinetto Disegni e Stampe degli Uffizi and a design for an altarpiece from the British Museum.


Jacopo Carrucci, known as Pontormo (1494-1557), After a cartoon by Michelangelo Buonarroti (1475-1564), Venus and Cupid, c. 1533. Oil on panel; 128 x 194 cm. Florence, Galleria dell’Accademia, inv. 1890 no. 1570.

Visitors will also be able to track Rosso Fiorentino’s travels between Volterra and Florence as well as his trips to Rome, where he was involved in the city’s sack in 1527, and to Sansepolcro before he fled to France, through key works: the Madonna of the Holy Girdle from Volognano; the restored Marriage of the Virgin from the Basilica of San Lorenzo in Florence; the Death of Cleopatra from the Herzog Anton Ulrich Museum in Braunschweig; and the Deposition from the Cross from Sansepolcro. 


Giovan Battista di Jacopo, known as Rosso Fiorentino (1494-1540, Venus and Bacchus1535-1539. Oil on canvas; 209 x 162 cm. Luxembourg, Musée National d’Histoire et d’Art.

The influence of Dürer on Pontormo’s style is evident in the Supper at Emmaus from the Uffizi, which he painted for the refectory of the Certosa di Galluzzo monastery. Indeed, the variety of Pontormo’s figurative and thematic work is illustrated by a series of celebrated paintings, such as his Visitation from the church of San Michele in Carmignano (conserved for the exhibition) in sequence with, among other works, the Madonna and Child from the Capponi collection, the altar frontal from the Capponi Chapel in Santa Felicità and the St Jerome from the Niedersachsisches Landesmuseum in Hannover, and by two little-known panel paintings attributed to the artist.


Jacopo Carrucci, known as Pontormo (1494-1557), Study of a Nude (Self-portrait?)1522-1525; 281 x 195 mm. London, The British Museum, 1936, 1010.10.

The final section is devoted to the period during which Rosso became the favourite painter of François I of France in Fontainebleau, while Pontormo in Florence was patronised by Cosimo I de’ Medici. Following the political and cultural events of the two courts in which they worked, the artists appear to draw closer together again despite their physical distance, through their shared adoption of the supranational figurative vocabulary forged around the style of Michelangelo’s mature work. In this room, two tapestries manufactured to a design by Pontormo for Palazzo Vecchio hang alongside a tapestry that once adorned the gallery of Fontainebleau, which Rosso painted for the eastern end of that gallery. Other major paintings from this period include Pontormo’s Venus and Cupid from the Galleria dell’Accademia in Florence, and Rosso’s Venus and Bacchus from the Musée National d’Histoire et d’Art, Luxembourg, and his Pietà, c. 1530, a rare loan from the Louvre.


Giovan Battista di Jacopo, known as Rosso Fiorentino (1494-1540, Study of a Seated Nude, c. 1525-1527; 363 x 214 mm. London, The British Museum, 1946, 0713.513.

Devised by Florentine architect Luigi Cupellini, Pontormo and Rosso. Diverging Paths of Mannerism is designed to evoke the architecture of the two painters’ era in a layout which promises to interact admirably with Palazzo Strozzi, a textbook example of the Renaissance style.

Posté par Alain Truong à 21:24 - - Commentaires [0] - Permalien [#]
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Qianlong blue and white porcelain at Nagel, "Asiatische Kunst", 9.5.2014


A large blue and white porcelain bowl with lotos, willow tree and rocks, China, Qianlong periodPhoto Nagel.

Few very small chips under the rim. D. 43,8 cm. Estimate 2000/3000 €

Property from a Dutch private collection 


A blue and white landscape export porcelain tureen and cover on an oval plate, China, late Qianlong-Jiaqing periodPhoto Nagel.

Few very small glaze frits. L. 32,5/34,3 cm. Estimate 1800/2500 €

Property from an old German private collection, bought from Stuker Auctions Bern (Switzerland), Nov./Dec. 1978, Lot 2640

Nagel. "Asiatische Kunst". 9.5.2014 - http://www.auction.de/


An ormolu mounted Imari porcelain bassin, China, Kangxi period, the mounts French, 19th century


An ormolu mounted Imari porcelain bassin, China, Kangxi period, the mounts French, 19th centuryPhoto Nagel.

Orig. handles lost, few filled hairlines. B. 57,5 cm. Estimate 2500/3500 €

Property from a German private collection 

Nagel. "Asiatische Kunst". 9.5.2014 - http://www.auction.de/

Kangxi blue and white porcelain at Nagel, "Asiatische Kunst", 9.5.2014


A fine blossom-shaped blue and white porcelain bowl, China, Kangxi seal mark and periodPhoto Nagel.

Rim frits, partly polished, few fine filled hairlines. D. 34,3 cm. Estimate 2500/3500 €

Property from a South German private collection


A good pair of blue and white porcelain bowls with figural scenes, China, Chenghua marks, Kangxi periodPhoto Nagel.

Good condion. D. 11,6 cm. Estimate 2500/3500 €

Property from an old German private collection

Former collection Selma Weinberg Zurich, bought from Koller, Zurich 18.5.1977, Lot 2873


Four blue and white porcelain dishes with peony and lotos decoration, China, Lingzhi mark, Kangxi periodPhoto Nagel.

One dish with short hairline to rim. D. 25,7 cm. Estimate 1800/2500 €

Property from a Dutch private collection

Nagel. "Asiatische Kunst". 9.5.2014 - http://www.auction.de/

A rare blue and white hookah base, China, Transitional period


A  rare blue and white hookah base, China, Transitional periodPhoto Nagel.

The body of bell shape rising from a flat base to a broad tapering mouth, freely painted around the exterior in rich cobalt-blue tones with Lotus ands flower branches amidst rocks. Small re-struck chip to mouth rim. H. 18,2 cm. Estimate 600/1000 €

Property from an old European collection.

Nagel. "Asiatische Kunst". 9.5.2014 - http://www.auction.de/

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