Alain.R.Truong

30 mars 2015

Ten Picassos from the Kunstmuseum Basel on view at the Museo del Prado in Madrid

Seated Harlequin (Arlequin assis), Pablo Picasso, Oil on canvas, 130

Pablo Picasso, Seated Harlequin (Arlequin assis), Oil on canvas, 130.2 x 97.1 cm, 1923, Kunstmuseum Basel, on permanent loan from the City of Basel 1967, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

MADRID.- For six months, the Museo del Prado’s Central Gallery is showing ten masterpieces by Picasso from the holdings of the Kunstmuseum Basel, an institution that houses more than 300 pieces by the Spanish artist, including drawings, prints and paintings, in its collections and on permanent loan. Picasso thus returns again to the Prado, but on this occasion through the Swiss museum’s works that best fit in with the exhibition message as they reflect, in the form of an essential anthology, some of decisive moments in the artist’s career, such as the end of his blue and rose periods, his foray into synthetic cubism, his return to “neoclassicism”, his experience during the war and the retrospective experiments of the last years of his life. The showing of this set of Picasso masterpieces revives the artist’s personal and artistic link with the Museo del Prado, which he directed during the Civil War years, and sparks a fruitful dialogue with great artists of the Renaissance and Baroque. 

The ten Picassos include the first paintings brought to the Kunstmuseum Basel by its director Georg Schmidt – Bread and Fruit Dish with Fruit on a Table (1908–9), a key work from the painter’s pre-cubist phase; Girls on the Banks of the Seine, after Courbet (1950), a splendid reworking of the French master’s painting; and Woman with Hat seated in Armchair (1941–42), which were incorporated into the Swiss museum’s holdings in 1951, 1955 and 1967, respectively. They are joined by The Aficionado and Woman with a Guitar, paintings that were part of La Roche’s first gift to the museum in 1952. 

Pablo Picasso, Bread and Fruit Dish on a Table (Pains et compotier aux fruits sur une table)

 Pablo Picasso, Bread and Fruit Dish on a Table (Pains et compotier aux fruits sur une table), Oil on canvas, 163.7 x 132.1 cm, 1908–09, Kunstmuseum Basel, purchased with a contribution from Dr. h. c. Richard Doetsch- Benziger, 1951, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Pablo Picasso, Young Ladies on the Banks of the Seine, after Courbet, 1950

Pablo Picasso, Young Ladies on the Banks of the Seine, after Courbet, 1950. Oil on plywood. Kunstmuseum Basel, purchased 1955, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Pablo Picasso, Woman with Hat Seated in an Armchair (Femme au chapeau assise dans un fauteuil)

Pablo Picasso, Woman with Hat Seated in an Armchair (Femme au chapeau assise dans un fauteuil), Oil on canvas, 130.5 x 97.5 cm, 1941–42, Kunstmuseum Basel, purchased with a contribution from the Max Geldner Foundation and an exceptional contribution from the government, 1967, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Pablo Picasso, The Aficionado, 1912

Pablo Picasso, The Aficionado, 1912. Oil on canvas. Kunstmuseum Basel, donated by Dr. h. c. Raoul La Roche 1952, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Pablo Picasso, Woman with a Guitar, 1911-14

Pablo Picasso, Woman with a Guitar, 1911-14. Oil on canvas.Kunstmuseum Basel, donated by Dr. h. c. Raoul La Roche 1952, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Two Brothers, executed in Gósol at the beginning of the summer of 1906, and Seated Harlequin (1923), a portrait of his painter friend Jacinto Salvadó which are being shown outside the Swiss canton for the first time in the Prado exhibition, were deposited at the Kunstmuseum Basel by Rudolf Staechelin in 1947 and sold twenty years later by his son Peter. The acquisition of these works stemmed from an initiative of the citizens of Basel, who decided in a referendum, and was made possible by the participation of public institutions and private contributions. Picasso was touched by this unusual occurrence, which prompted him to give the city a large study and three paintings that can also be seen at the Prado during this exhibition: Man, Woman and Child of 1906 and Venus and Love and The Couple, both executed in 1967.  

Picasso, The Two Brothers (Les deux frères)

Pablo Picasso, The Two Brothers (Les deux frères), Oil on canvas, 141.4 x 97.1 cm, Early summer 1906 (Gósol), Kunstmuseum Basel, on permanent loan from the City of Basel 1967, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Pablo Picasso, Man, Woman and Child, Autumn of 1906

Pablo Picasso, Man, Woman and Child, Autumn of 1906. Oil on canvas. Kunstmuseum Basel, gift of the artist to the municipality of Basel; permanent loan from the City of Basel 1967, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Pablo Picasso, Venus and Cupid (Vénus et l’Amour)

Pablo Picasso, Venus and Cupid (Vénus et l’Amour), Oil on canvas, 195 x 130 cm, June 9, 1967, Kunstmuseum Basel, gift of the artist to the municipality of Basel; permanent loan from the City of Basel 1967, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

Pablo Picasso, The Couple, 10 June 1967

Pablo Picasso, The Couple, 10 June 1967. Oil on canvas. 195 x 130 cm, Kunstmuseum Basel, gift of the artist to the municipality of Basel; permanent loan from the City of Basel 1967, © Sucesión Pablo Picasso, VEGAP, Madrid, 2015.

 The show thus celebrates the collaboration between two longstanding European public museums through the gaze – a blend of tradition and avant-garde – of the main herald of modernity. These ten outstanding works from the Kunstmuseum Basel survey his artistic career from the summer of 1906 – his Iberian period preceding the explorations that led to Cubism – to the very free and rather melancholic works of the late period, in 1967.

 


A Dehua cylindrical tripod censer, Qing dynasty, 18th century

A Dehua cylindrical tripod censer, Qing dynasty, 18th century

A Dehua cylindrical tripod censer, Qing dynasty, 18th centuryEstimate HK$30,000-50,000 (US$3,900-6,500). Photo Christie's Image Ltd 2015

The censer is raised on three ruyi-form feet and is moulded with three shallow bands around the exterior, the central register is  incised with two rows of key-frets. 3 3/4 in. (9.5 cm.) high

Christie's. FINE CHINESE WORKS OF ART FROM THE YAOGUSHANFANG COLLECTION, 6 April 2015, 22nd Floor

A lobed Qingbai vase, Song Dynasty (960-1279)

A lobed Qingbai vase, Song Dynasty (960-1279)

A lobed Qingbai vase, Song Dynasty (960-1279) Detail

A lobed Qingbai vase, Song Dynasty (960-1279). Estimate HK$1,200,000-1,800,000 (US$160,000-230,000). Photo Christie's Image Ltd 2015

The vase is raised on a foliate-form spreading foot with the body moulded into eight lobes below the trumpet neck. The neck is encircled by overlapping leaf lappets and rises to a foliate rim moulded as seven out-turned petals. The vase is covered with an even greenish-blue glaze. 11,5 in. (29 cm.) high

Christie's. FINE CHINESE WORKS OF ART FROM THE YAOGUSHANFANG COLLECTION, 6 April 2015, 22nd Floor

A carved Qingbai ‘Peony’ meiping and cover, Southern Song Dynasty (1127-1279)

A carved Qingbai ‘Peony’ meiping and cover, Southern Song Dynasty (1127-1279)

A carved Qingbai ‘Peony’ meiping and cover, Southern Song Dynasty (1127-1279) detail 1

A carved Qingbai ‘Peony’ meiping and cover, Southern Song Dynasty (1127-1279) detail2

A carved Qingbai ‘Peony’ meiping and cover, Southern Song Dynasty (1127-1279) base

A carved Qingbai ‘Peony’ meiping and cover, Southern Song Dynasty (1127-1279)Estimate HK$1,500,000-2,000,000 (US$200,000-260,000). Photo Christie's Image Ltd 2015

The vase is carved and combed with an intricate peony scroll  below the cover carved with a floral motif. Both are covered with a translucent glaze of warm ivory tone pooling to a slightly blueish tone in the recesses and ending above the foot revealing the white biscuit body. 9¬ in. (24 cm.) high

PROVENANCE:  Sold at Sotheby’s London, 20 June 2001, lot 52
Sold at Sotheby’s New York, 23 March 2011, lot 564

Christie's. FINE CHINESE WORKS OF ART FROM THE YAOGUSHANFANG COLLECTION, 6 April 2015, 22nd Floor

A moulded Ding ‘Deer' dish, Jin dynasty (1115-1234)

A moulded Ding ‘Deer' dish, Jin dynasty (1115-1234)

A moulded Ding ‘Deer' dish, Jin dynasty (1115-1234) back

A moulded Ding ‘Deer' dish, Jin dynasty (1115-1234) detail 1

A moulded Ding ‘Deer' dish, Jin dynasty (1115-1234) detail 2

A moulded Ding ‘Deer' dish, Jin dynasty (1115-1234)Estimate HK$1,200,000 - HK$1,800,000 (US$160,000-230,000). Photo Christie's Image Ltd 2015

The dish is moulded to the interior with a recumbent deer amid flowers and foliage, and covered with a creamy ivory glaze leaving the rim unglazed. 8º in. (21 cm.) diam.

PROVENANCESold at Sotheby’s Hong Kong, 29 October 1991, lot 11
Sold at Sotheby’s New York, 23 March 2011, lot 529 

Christie's. FINE CHINESE WORKS OF ART FROM THE YAOGUSHANFANG COLLECTION, 6 April 2015, 22nd Floor



A Ding jar and cover, Late Tang-Five dynasties, 10th century

A Ding, jar and cover, Late Tang-Five dynasties, 10th century

A Ding, jar and cover, Late Tang-Five dynasties, 10th century (base)

A Ding jar and cover, Late Tang-Five dynasties, 10th century. Estimate HK$700,000-900,000 (US$91,000-120,000). Photo Christie's Image Ltd 2015

The jar is well potted with straight sides supported on a cylindrical foot, and rises sharply to an angular shoulder surmounted by a short cylindrical neck. The cover is applied with a small finial at the slightly domed centre. The exterior is carved with rope twist design running down the sides. It is covered with an ivory-white glaze pooling in the recesses. 3 in. (8.6 cm.) high

PROVENANCE: Acquired in Japan, 2005

Note: Jars and covers of this type are very rare. A closely related example of this current jar and cover also dated to the same period but of slightly smaller size, is illustrated in Decorated Porcelains of Dingzhou: White Ding wares from the collection of the National Palace Museum, Taipei, 2014, p. 21, no. I-2.

Christie's. FINE CHINESE WORKS OF ART FROM THE YAOGUSHANFANG COLLECTION, 6 April 2015, 22nd Floor

Exhibition of new works by Anselm Kiefer opens at Galerie Thaddaeus Ropac in Salzburg

Anselm Kiefer, wohin wir uns wenden im Gewitter der Rosen, 2014

Anselm Kiefer, wohin wir uns wenden im Gewitter der Rosen, 2014. Acrylic, emulsion, oil, shellac, chalk and sediment of electrolysis on photograph mounted on canvas, 280 x 380 cm (110,24 x 149,61 in). Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

SALZBURG.- Galerie Thaddaeus Ropac presents its seventh solo exhibition of new works by Anselm Kiefer. Under the title Im Gewitter der Rosen [In the storm of roses], Kiefer has assembled a series of canvases, overpainted collages, watercolours and sculptures sharing the thematic dialectic of war and peace, love and pain, beauty and destruction. These leitmotifs draw primarily on three literary sources: Ingeborg Bachmann's (1926-73) poem In the Storm of Roses (1953), the mediaeval love poem Under der Linden [Under the lime-tree] by Walther von der Vogelweide (c.1170-c.1230), and Arthur Rimbaud's (1854-91) early sonnet Le Dormeur du val [The sleeper in the valley] (1870). It is not only the analytical reflection on the functions and iconographies of different myths, be they Christian, cabalistic or Germanic, with which Kiefer was concerned in recent years, but also literary motifs which he related to one another in his works from different centuries.

Anselm Kiefer,wohin wir uns wenden im Gewitter der Rosen, 2014

Anselm Kiefer, wohin wir uns wenden im Gewitter der Rosen, 2014. Acrylic, emulsion, oil, shellac, chalk and sediment of electrolysis on photograph mounted on canvas; 280 x 380 cm (110,24 x 149,61 in. Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

"I think in pictures. Poems help me with this. They are like boys in the sea. I swim to them, from one to the other. In between, without them, I am lost. They are the handholds where something masses together in the infinite expanse. Sometimes the ruins of things past condense into new words and contexts", said Anselm Kiefer in his acceptance speech at the award ceremony of the peace prize of the German book trade in the Frankfurt Pauluskirche in 2008. 

No-one, after 1945, made the question of war and peace more unreservedly the focus of their writing. Ingeborg Bachmann placed herself at the mercy of the destructive experiences of her time, and countered the continuing state of war in the world with her own utopia of a fulfilled life. In the Storm of Roses, written in a hermetic style comparable to that of Paul Celan's poetry, introduces an image around which all further metaphors are grouped. Night and thunder belong to the storm; related to roses are thorns, leaves, and bushes, which also symbolise the clouds. The dynamic suggested semantically by the storm is formally reflected in the opposing pairs. The formal asymmetry leaves behind a feeling of undirected motion.  

Anselm Kiefer, ignis sacer, 2014

Anselm Kiefer, ignis sacer, 2014. Acrylic, emulsion, oil, shellac, wood, wire, board, chalk and sediment of electrolysis on photograph mounted on canvas; 280 x 380 cm (110,24 x 149,61 in)Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

Similarly the depiction of plants, stems, clouds against dark, almost black fields in Anselm Kiefer's canvases, which take up the motifs and the dialectic of the poem. The elements seem as though whirled around by a storm. Kiefer's new series evinces an increasingly painterly style, although for these new works – in which the artist's typical material aesthetic of sedimentary structures applied layer by layer predominates – no brush was ever used. Sometimes the paint is flung on to the canvas, producing elements reminiscent of the Drippings of European Informel and American Expressionism.  

Walter von der Vogelweide's Middle High German song Under der Linden, which belongs to the so-called Mädchenlieder, tells of the experience of a simple maid and her courtly lover. The poem's bed of flowers and the broken flowers and blades of grass fit perfectly into the iconographic sphere of (broken) stems, flowers and ears of corn which Anselm Kiefer has used increasingly since his work on the series Für Paul Celan, Die Ungeborenen and Morgenthau Plan.

Anselm Kiefer, das letzte Fuder, 2014

Anselm Kiefer, das letzte Fuder, 2014. Acrylic, emulsion, oil, shellac, chalk and sediment of electrolysis on photograph mounted on canvas; 280 x 380 cmCourtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

In Arthur Rimbaud's poem Le Dormeur du val, which he wrote at the age of sixteen, under the shadow of the Franco-Prussian war, a man lying in the grass is also the principal motif: here the sleeper is a young soldier, shot dead by German troops. This early work is a favourite among Rimbaud's poems published in anthologies and schoolbooks. 

The monumental sculpture entitled steigend steigend sinke nieder [rise rise descend] (2011), which will be placed in the garden of the gallery, distorts the vegetal motif of the (broken) stem: here, Kiefer hangs showers of long-stemmed sunflowers from the top of a display-case sculpture, taking a motif from Johann Wolfgang Goethe's Faust II: in Act I, Faust must descend to the mothers in order to summon Helena. This realm of the mothers is a sphere of the amorphously unreal, the void. Goethe describes this descent at the same time as an ascent – similar to the cabalistic motif of ascent and descent to the seven heavenly palaces.  

Anselm Kiefer, Under der Linden, 2014

Anselm Kiefer, Under der Linden, 2014. Acrylic, emulsion, oil, shellac, wood, wire, charcoal and sediment of electrolysis on photograph mounted on canvas; 190 x 420 cm (74,8 x 165,35 in)Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

The sphere of the mothers is also referred to in the sculpture Regina Coeli (2010) – an honorary title for the Virgin Mary, the queen of heaven. Here, the firmament with its stars is symbolised by a historic model of the planets, set upon the shoulders of this woman of antiquity. The connection between macro- and microscopic structures – a theme which Anselm Kiefer has explored for many years, inspired not least by the philosophy Robert Flood(1574-1637) – permeates the Salzburg exhibition like a leitmotif: the stems, ears, feathers, flowers and bushes juxtaposed with heavenly spheres, subterranean palaces, natural forces and broad horizons. 

The exhibition will be accompanied by a publication with a text by Orhan Pamuk. 

Anselm Kiefer, Regina Coeli 2010 Resin, acrylic, plaster and iron

Anselm Kiefer, Regina Coeli, 2010. Resin, acrylic, plaster and ironCourtesy Galerie Thaddaeus Ropac, Paris/Salzburg © Anselm Kiefer Photo: Ulrich Ghezzi.

 

 

Swimming tiger by Henrik Vind

Swimming tiger by Henrik Vind

Swimming tiger by Henrik Vind

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Pair of Jadeite Disc and Diamond Pendant Necklaces

Pair of Jadeite Disc and Diamond Pendant Necklaces

Pair of Jadeite Disc and Diamond Pendant NecklacesEstimate 1,500,000 — 1,800,000 HKD (168,987 - 202,784 EUR). Photo Sotheby's

The matching pair of jadeite discs of translucent emerald green colour, each accompanied by a black cord with a stylized terminal set with circular-cut diamonds and jadeite beads of matching colour and translucency, mounted in 18 karat white gold, length adjustable.
Diameter and thickness of discs approximately 20.51 x 7.39mm and 20.50 x 7.55mm respectively; jadeite beads approximately 4.80 to 3.70mm.

Accompanied by two Hong Kong Jade & Stone Laboratory certificates numbered KJ 88975 and KJ 88976 respectively, both dated 23 January 2015, stating that the jadeites are natural, known in the trade as "A Jade".

The Circle of Unity and Peace

This pair of jadeite discs of extremely fine quality is remarkably matching in colour, translucency and size. Together, they are a perfect symbol of unity – between him and her, parent and child, siblings, and friends. Each of them is carved as a simplistic circle with a hole in the centre, free from intricate carvings, symbolizing the modest wish for a sense of peace. It is believed that this form bears similarity to the ancient ritual object bi﹙璧﹚, granting its wearer blessings from heaven. The infinite outline of the outer and inner circles is also the perfect representation of completeness and wholeness, an ideology of supreme importance in Chinese tradition.

 

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

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29 mars 2015

Jadeite Bangle

Jadeite Bangle

Jadeite BangleEstimate 1,600,000 — 2,200,000 HKD (180,253 - 247,848 EUR). Photo Sotheby's

The translucent circular jadeite bangle of celadon tone to soft emerald green colour, rounded to the outside and flattened to the inside.
Inner diameter and thickness approximately 53.50 x 11.23mm.

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 89279, dated 10 February 2015, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 06 avr. 2015, 01:00 PM

Posté par Alain Truong à 23:59 - - Commentaires [0] - Permalien [#]
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