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Alain.R.Truong

Archives de Tag: Andy Warhol

A major American painting formerly owned by Andy Warhol acquired by the Barber Institute of Fine Arts

04 mercredi Fév 2015

Posted by alaintruong2014 in Non classé

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Andy Warhol, George Bellows

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Purchased outright for the gallery by the Henry Barber Trust on the advice of Director Nicola Kalinsky, the painting comes from a private US collection via art dealer Collisart. It was owned by Pop artist Andy Warhol from 1985 until his death in 1987.

‘Nude: Miss Bentham’, by the early 20th-century painter George Bellows, has gone on display in the gallery at the University of Birmingham this week.

The Barber Institute becomes only the second UK public collection to own a work by this key modern artist, best known for his association with the groundbreaking New York-based Ashcan painters – following the National Gallery’s acquisition exactly a year ago of Bellows’s Men of the Docks.

Purchased outright for the gallery by the Henry Barber Trust on the advice of Director Nicola Kalinsky, the painting comes from a private US collection via art dealer Collisart.It was owned by Pop artist Andy Warhol from 1985 until his death in 1987.

Ms Kalinsky said: ‘This is a thrilling departure for the Barber Institute and our first major purchase for some years. It fits in extremely well with the strengths of our gallery as a historical collection, but it takes us into new areas too. The painting is very American and very much of its time, strengthening and expanding our representation of early 20th-century art.’

The acquisition – which is also the Barber’s first nude – signals the complex role America was to take in the development of modern art in the twentieth century. The full-length oil depicts a model named by Bellows as Miss Bentham, painted in a realistic but highly dramatic style against a dark background. It was executed and exhibited in 1906, the year Bellows began exhibiting as a professional artist.

Nicola Kalinsky added: ‘This acquisition is so important for the Barber as it’s only our second painting by an American – and our Whistler – which was purchased in 1939 – was painted in London and sits within a very different tradition. In many ways, Bellows is the archetypal American artist, and he is considered the key American painter of the first decade of the 20th century. His work is very well known in the States, but he is too little known across the Atlantic.

‘Bellows’s vision is not avante garde in the manner of his European contemporaries – you can see that he is obviously aware of the great painters of the past, such as Velazquez and Manet, and he would have considered himself very much part of that tradition of painterly realism. However, he is an artist who looked forward as well as back, and for him and the rest of the Ashcan painters, their subject matter is radical and modern. Bellows painted slum kids, boxing matches, building sites – the nitty-gritty side of urban life rather than the genteel middle classes at leisure as favoured by many of preceding generation.’

The new acquisition has been displayed in a specially rehung section of the Blue Gallery alongside some of the Barber’s most significant and visually arresting paintings from the late 19th century, and which feature the human figure and scenes from modern life. These include Eduard Manet’s Portrait of Carolus Duran of 1876, Edgar Degas’s Jockeys before the Race, 1879 and Auguste Renoir’s Young Woman, Seated, c 1876.

Hugh Carslake, Chairman of the Henry Barber Trust, said: ‘This is a very exciting acquisition for the Barber collection. Our founder, Lady Barber, stated that the quality of the works in our collection should be “of exceptional and outstanding merit” and emulate that of the works in the National Gallery and the Wallace Collection, so this is a particularly apposite addition.’

Nude: Miss Bentham will be the centrepiece of a picture-in-focus exhibition at the Barber Institute, planned for autumn 2016, which will feature major loans from Britain and the United States.

Los Angeles collectors Jane and Marc Nathanson give major artworks to LACMA

29 jeudi Jan 2015

Posted by alaintruong2014 in Old Master Paintings, Post-War and Contemporary Art

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" 1860, "Leda and the Swan", "The Virgin with the Host, 'Christ Blessing', 'Interior with Three Hanging Lamps', 1480–1485, 1742, 1962, 1991, Andy Warhol, François Boucher, Hans Memling, Jane and Marc Nathanson, Jean-Auguste-Dominique Ingres, Los Angeles County Museum of Art, Lynda and Stewart Resnick, Roy Lichtenstein, Two Marilyns

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Andy Warhol, ‘Two Marilyns‘, 1962, promised gift of Jane and Marc Nathanson in honor of the museum’s 50th anniversary © 2015 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York, photo © Museum Associates/ LACMA, by Josh White

LOS ANGELES, CA.– The Los Angeles County Museum of Art announced eight promised gifts of art from Jane and Marc Nathanson. The Nathansons’ gift of eight works of contemporary art includes seminal pieces by Damien Hirst, Roy Lichtenstein, Frank Stella, Andy Warhol, and others.

The bequest is made in honor of LACMA’s 50th anniversary in 2015. The gifts kick off a campaign, chaired by LACMA trustees Jane Nathanson and Lynda Resnick, to encourage additional promised gifts of art for the museum’s anniversary. Gifts resulting from this campaign will be exhibited at LACMA April 26–September 7, 2015, in an exhibition, 50 for 50: Gifts on the Occasion of LACMA’s 50th Anniversary.

« What do you give a museum for its birthday? Art. As we reach the milestone of our 50th anniversary, it is truly inspiring to see generous patrons thinking about the future generations of visitors who will enjoy these great works of art for years and decades to come,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “Jane and Marc Nathanson have kicked off our anniversary year in grand fashion.”

Jane Nathanson added, “I hope these gifts will inspire others to make significant contributions in the form of artwork as we look forward not only to the 50th anniversary of the museum, but to the next 50 years. I can’t wait for this spring, when these and other gifts will be on view in a special anniversary exhibition at the museum, which we’ll celebrate in high style at the Anniversary Gala on April 18.”

Jane and Marc Nathanson are well-known philanthropic leaders in Los Angeles. Jane Nathanson is a psychologist and licensed clinical marriage and family therapist. A member of the board of trustees at LACMA since 2004, Mrs. Nathanson is a founder and former trustee of the board of the Museum of Contemporary Art, Los Angeles. In addition to their significant arts and culture support, Mr. and Mrs. Nathanson have supported many health-related causes including founding the Nathanson Resilience Center at the UCLA Neuro Psychiatric Institute and funding the creation of meditation rooms on every floor of Cedars-Sinai Medical Center in Los Angeles. Mrs. Nathanson is a trustee at UCLA Medical Center and a former director of the American Foundation for AIDS Research. Marc Nathanson is chairman of Mapleton Investments, a diversified investment holding company, and Falcon Waterfree Technologies. He serves as a trustee of the board of the Aspen Institute, is on the board of directors at the Pacific Council on International Policy, and was founding chair of the Homeland Security Advisory Council (HSAC) for Los Angeles. Prior to his current role at Mapleton and Falcon Waterfree, Mr. Nathanson founded and served as chairman and CEO of Falcon Cable TV. Mr. Nathanson additionally served as chairman of the Broadcasting Board of Governors during the Clinton and Bush Administrations.

At the Los Angeles County Museum of Art, Jane and Marc Nathanson have contributed generously to build the museum’s collection, including supporting the acquisition of the complete print works by artist Ed Ruscha. The Nathansons were lead donors to LACMA’s Transformation campaign, and a major gallery in the Renzo Piano–designed BCAM building is named in their honor. Mrs. Nathanson chaired the gala opening for the building in 2008, guiding the single largest fundraising event in LACMA’s history, widely seen as marking a pivotal moment for the museum’s future.

Jane and Marc Nathanson promised an extraordinary grouping of eight works created over four decades by some of the most important artists of the last half century, including Gilbert & George, Damien Hirst, Roy Lichtenstein, Julian Schnabel, George Segal, Frank Stella, James Rosenquist, and Andy Warhol. Selections of the gift include Andy Warhol’s Two Marilyns, from 1962, created around the time Warhol began using the silkscreen process, a method that would soon become his signature. Along with Campbell’s Soup Can (1964) and Black and White Disaster (1962), two works already in LACMA’s collection, this triumvirate will allow the museum to present a full view of Warhol’s central concerns during the 1960s. James Rosenquist’s Portrait of the Scull Family (1962) illustrates the artist’s seemingly irrational juxtapositions in Surrealism combined with directed references to manufactured goods and mass media, all rendered in the artist’s signature dispassionate and seemingly anonymous sign-painter’s technique. Also included in the Nathansons’ gift is George Segal’s Laundromat (1966–67), Gilbert & George’s Falling (1972), Frank Stella’s La Columba Lady (1984), Julian Schnabel’s Fox Farm Painting X (1989), Roy Lichtenstein’s Interior with Three Hanging Lamps (1991), and Damien Hirst’s Death Will Have His Day (2006).

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Roy Lichtenstein, ‘Interior with Three Hanging Lamps‘, 1991, promised gift of Jane and Marc Nathanson in honor of the museum’s 50th anniversary © Estate of Roy Lichtenstein, photo © Museum Associates/ LACMA, by Josh White

50 for 50: Gifts on the Occasion of LACMA’s 50th Anniversary
LACMA announced an exhibition this spring that will include approximately 50 new works gifted in honor of the museum’s 50th anniversary, including selections from Jane and Marc Nathanson’s generous gift. Other promised gifts to be featured in the exhibition will be unveiled for the first time at an Anniversary Gala on April 18. The exhibition will be open to members April 20–25, and will open to the public during a free community day on April 26. Since 2007 LACMA has added more than 19,000 objects to its collection of over 120,000 works from ancient times to the present. This includes the Janice and Henri Lazarof collection of Modern art; the Marjorie and Leonard Vernon collection of photography, made possible by a gift from Wallis Annenberg; collections of European fashion; ancient American art; and art from the Pacific Islands; as well as individual masterpieces by the likes of Thomas Eakins, Maruyama Ōkyo, Henri Matisse, and others.

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Hans Memling, ‘Christ Blessing‘, 1480–1485, promised gift of Lynda and Stewart Resnick in honor of the museum’s 50th anniversary.

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Francois Boucher, « Leda and the Swan« , 1742. Oil on canvas, 23 1/2 x 29 1/4 in. Promised gift of Lynda Stewart Resnick in honor of he museum’s 50th anniversary.

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Jean-Auguste Dominique Ingres, « The Virgin with the Host, » 1860, oil on canvas. A promised gift of Lynda and Stewart Resnick in honor of the museum’s 50th anniversary.

Agnolo Bronzino (Florence 1503-1572), Portrait of a young man with a book

28 mercredi Jan 2015

Posted by alaintruong2014 in Old Master Paintings, Post-War and Contemporary Art

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'Portrait of Guidobaldo della Rovere, Agnolo Bronzino, Andy Warhol, Duke of Urbino', Joseph Cornell, Lucian Freud, Mao, Medici Princess, Portrait of a young man with a book, Portrait of Lorenzo Lenzi, The Brigadier, The Dead Christ with the Virgin and St. Mary Magdalene, The Holy Family

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Agnolo Bronzino (Florence 1503-1572), Portrait of a young man with a book, oil on poplar panel, 37 x 30¾ in. (94 x 78 cm). Estimate $8,000,000 – $12,000,000. Photo Christie’s Image Ltd 2015

Provenance: Corsini Collection, Palazzo Corsini, Florence, by 1842.
Private collection.

Literature: F. Fantozzi, Nuova guida, ovvero descrizione storico-artistico-critica della citta e contorni di Firenze, Florence, 1842, p. 556: ‘Uomo che scrive. di A. del Sarto’.
G. François, Nuova guida della citta di Firenze ossia descrizione di tutte le cose che vi si trovano degne d’osservazione con pianta e vedute, Florence, 1853, p. 150: ‘Uomo che scrive, di A. Del Sarto’.
U. Medici, Catalogo della galleria dei Principi Corsini in Firenze, Florence, 1886, p. 17, no. 17: ‘CARRUCCI JACOPO (detto il Pontormo) – Ritratto di uomo in costume fiorentino del Secolo XVI. – mez. fig. gra. nat. Tav. al. m. 0,94, lar. m. 0,78’.
F.M. Clapp, Jacopo Carucci da Pontormo, New Haven and London, 1916, pp. 202-203, no. 17, as not by Pontormo.
C. Gamba, Il Pontormo. Piccola Collezione D’Arte N. 15, Florence, 1921, pl. 45, as Pontormo.
J. Alazard, Le portrait Florentin de Botticelli a Bronzino, Paris, 1924, p. 177, n. 2, as school of Pontormo.
C. Gamba, Contributo alla conoscenza del Pontormo, Florence, 1956, p. 16, as Pontormo.
Fifty Treasures of the Dayton Art Institute, Dayton, 1969, p. 70, under no. 21; p. 133, fig. 5, as not by Pontormo.
P. Costamagna, Pontormo, Milan, 1994, pp. 310, 311, no. A91.1 as a copy or replica of the ex-Lanfranconi picture.
C. Falciani, « Spigolature sul Bronzino (e sul Pontormo) », Paragone, CXI, September 2013.
The present portrait will be published in Dr. Elizabeth Pilliod’s forthcoming monograph with a catalogue raisonné of Bronzino’s drawings and paintings, as datable to c. 1525, possibly Bronzino’s earliest surviving portrait.
Dr. Janet-Cox Rearick has also confirmed the attribution to Bronzino on the basis of firsthand inspection.

Notes: Portraiture, especially prior to the advent of photography, served numerous functions, among them recording a likeness for posterity, conferring status and authority, celebrating events such as a betrothal, marriage or receipt of an honor. And of all the genres, perhaps no other is so aware of its own tradition. Portraiture flourished in Ancient Rome and, while never extinguished, was revisited with renewed enthusiasm in the Renaissance all over Europe. Indeed some of the most recognizable images of the Renaissance–most notably the Mona Lisa–are portraits. From Titian a sub-genre of ‘swagger’ portraiture developed, a torch which would be passed on from him to Van Dyck to Reynolds and on to Sargent and eventually to Lucien Freud whose Brigadier (fig. 2) subversively echoes the glamorous officers and imperial heroes painted by the earlier masters. From Tuscany a different thread emerged, based partially on an appreciation of the artist’s ability to render face and fabric alike with illusionistic realism, partly on the local penchant for grace in ‘disegno’ and partly as Florence evolved from a Republic to a Medicean Duchy to the use of portraiture as a way to establish immediately recognizable iconic images of the ruling class in all its manifestations: successful businessmen, intellectuals, powerful men and women. Artists like Pinturicchio, Botticelli and Raphael developed this tradition, but it reached its apogee in the crystalline perfection of Bronzino’s exquisitely finished portrayals of the Medici and their supporters.

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Fig. 2 Lucian Freud (1922-2011), The Brigadier, 2003-2004 (oil on canvas) / Private Collection / © The Lucian Freud Achive / Bridgeman Images

The reverberation of this golden age of portraiture haunts us even today in ways as varied as the original function of the older paintings. A celebrated artist who adapted the conventions and superficial appearance of Renaissance portraiture for her own ends is Cindy Sherman, whose History Portraits (1988-1990) ransack sources as readily identifiable as Raphael’s La Fornarina (Untitled 205) or as generic as Untitled 209, a portrait of a lady in an elaborate 16th-century costume who confronts the viewer with all the haughtiness of a Bronzino aristocrat. Naturally art using photography, or Sherman’s performance art version of it, lends itself to the appropriation of historical images, and with no post-war artist was this accomplished to greater effect than with Joseph Cornell, whose Medici Slot Machines were executed in the 1940s and 50s using printed reproductions of such paintings as the Portrait of Bia de Medici by Bronzino (Galleria degli Uffizi, Florence) (fig. 1), which gaze poignantly out at us from behind the glass, part devotional object, part arcade entertainment. In both Sherman and Cornell’s work, one of the preoccupations of the artist is the dialogue with their creative impulses and the history of art. Even if Sherman says “I never did terribly well in art history. I could never memorize the slides”, the History Portraits nevertheless were mainly executed in a studio in Trastevere in Rome and were surely on some level inspired by that environment.

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Fig. 1 Joseph Cornell, Medici Princess, Christie’s, New York, 13 May 2014, lot 10, Art © Joseph and Robert Cornell Memorial Foundation / Licensed by VAGA, New York, NY

Bronzino’s fascination with power and fashion and his cool, impeccably enameled depiction of the powerful and the beautiful of 16th-century Florence made him a true cultural historian of his time. His portraits immediately conjure up a specific and glamorous moment, his sitters’ detachment rendering them more icon-like than humans with fully realized characterizations. Although there is no evidence of any knowledge of his work, there is a parallel between the portraiture of Bronzino and that of Andy Warhol, the most celebrated purveyor of ‘iconic’ images of the 20th century. Warhol, who became interested in Chairman Mao following Nixon’s visit to China, painted him (fig. 3) in part “since fashion is art now and Chinese is in fashion”. Of course his interest was fired by Mao’s power and celebrity, and his place in the select group of instantly recognizable people, like Jackie O and Liz Taylor, who defined his era and his culture.

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Fig. 3 Andy Warhol, Mao, Christie’s, New York, 15 May 2013, lot 39. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

We are grateful to Dr. Carlo Falciani for having furnished the following essay on the picture, translated from the Italian.

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The Uffizi Tribuna Gallery, Florence.

This Portrait of a Young Man with a Book is mentioned in 19th-century guides to the Corsini Gallery in Florence, beginning with that of Federigo Fantozzi, who in 1842 listed it as by Andrea del Sarto, an attribution repeated by Giuseppe François in his 1853 guide to the city. Ulderico Medici was the first to ascribe the portrait to Pontormo in his catalogue of the Corsini Gallery of 1886. But apart from these brief references, intended for visitors to the only private art gallery in Florence capable of vying with the famed Medici Collections, the portrait enjoyed little critical acclaim, and art historians only heard of it again recently. All of this is confirmed by the fact that no critics, among the few who studied the work after Gamba in 1921, report having physically seen the painting. They only knew a black and white picture taken by Alinari at the beginning of the 20th century and used in a few ensuing publications. The only explanation for such oblivion is that maybe, some time after 1921, when Bernard Berenson discovered a second version of the painting, the original left the Galleria Corsini and disappeared into other private collections, where it was considered relatively unimportant.

Clapp was the first critic to study the painting. However, he rejected the traditional attribution to Pontormo and, in his 1916 monograph on the artist, it is « ascribed to Pontormo, but neither the colouring, nor the modelling, nor yet the morphology of the figure are his. A copy of this portrait, identical in size, passed from the Lanfranconi Collection, which was sold in Cologne in 1895, into the Sedelmeyer Collection ». In the catalogue entry there is a reference to Alinari picture no. 4198. According to Clapp, the second panel, which was previously in the Lanfranconi Collection, was « a late sixteenth century copy of the portrait erroneously ascribed to Pontormo in the Corsini Collection in Florence ». (Clapp,op. cit., pp. 202-203; for the ex-Lanfranconi painting, see the catalogue of the Dayton Art Institute, Fifty Treasures of The Dayton Art Institute, op. cit., p. 168).

As mentioned above, the Florentine panel was published by Carlo Gamba in 1921 in his brief monograph on Pontormo in Alinari’s Piccola collezione d’arte (illustration n. 45). However, Gamba does not mention the painting in his brief introductory essay, and the attribution is confirmed only by the presence of the picture in the plates; in addition, there are no notes explaining the reasons which led the critic to accept the traditional attribution to Pontormo. In the Alinari picture published by Gamba, we can see that the panel is split right down the middle: the crack, previously reported by Clapp, is clearly visible as it runs from top to bottom through the left cheekbone. This crack, along with certain formal differences, distinguishes this panel beyond all reasonable doubt from that of Lanfranconi version, where the man has a rounder face and the rendering of his eyes is softer.

Jean Alazard discussed the painting in the Corsini Collection in his book Le portrait Florentin de Botticelli à Bronzino, of 1924. He rejected the attribution to Pontormo and highlighted the fact that, in his opinion, the « faiblesse du modèle de la figure et des mains et le coloris disgracieux du visage semblent indiquer une oeuvre d’école » (Alazard, op. cit., p. 177. n. 2). By general consent, the painting was no longer attributed to Pontormo and art history seemed to forget about it until the 1950s, when Carlo Gamba wrote about it again, although he did not publish a new picture of the painting because he preferred the Lanfranconi version, which in the meantime had passed into an American collection. Gamba wrote:

in the Piccola collezione d’Arte I ascribed to Pontormo a portrait in the Corsini Collection generally not accepted as his by art critics. Many scholars say that it is in the tradition of the northern school: they mention different portraits relying on the same stylistic features as examples. Nevertheless, the rendering of the eyes, the mouth and the folds in the clothing are compatible with Jacopo’s style around 1535, and in particular with his style in the beautiful portrait of a young man that passed from Rinuccini to Trivulzio and which can be now admired in the Castello Sforzesco [the reference is to the Portrait of Lorenzo Lenzi, now attributed to Bronzino; fig. 4]. Here too, the uniform greenish background shows how Pontormo’s portraiture had been inspired by models from northern Europe. I reproduce here a second version of it, which is to be found in the Booth Tarkington Collection, Indianapolis. B. Berenson was so kind as to give me the picture of it. We should see the two paintings side by side in order to choose the best version (Gamba, 1956, op. cit., p.16).

Gamba emphatically uses the ‘past’ and ‘conditional’ tenses — ‘I ascribed’, ‘we should see them’ — as though the comparison he yearned to make was no longer possible owing to the fact that one of the paintings was nowhere to be found. (Costamagna, on p. 311 of his monograph on Pontormo, says that the painting under discussion was no longer in the Corsini Collection after the Second World War.) And sure enough, Gamba publishes only the picture of the (formerly Lanfranconi, subsequently) Tarkington panel. In addition, he does not say if the portrait is still to be found in the Corsini Collection; he only says that he published this work in 1921 when it was in the collection. This statement should be intrepreted also in the light of the absence of the painting or any mention of it in subsequent monographs and exhibitions devoted to Pontormo, particularly the exhibition, Pontormo o del primo manierismo fiorentino, curated by Luciano Berti in 1956, where numerous works from Florentine private collections were put on public display, but the Corsini painting was neither exhibited nor mentioned. Nor, indeed, was the painting among those chosen to represent the 16th-century Tuscan school in the famous exhibition held at the Palazzo Strozzi, Florence in 1940, Mostra del Cinquecento Toscano. We can only presume once again that the reasons underlying its obscurity are to be found in its fate at the hands of unknown collectors; the painting had lost its appeal and so it was assigned less importance and downgraded to the rank of a work by a member of Pontormo’s workshop. No other study on Pontormo mentions the portrait until the monograph by Philippe Costamagna in 1994. Like Gamba, he admits that he could not see the painting. The only trace we can find of it, and then only as a reminder of its troubled attribution, is in the catalogue of the collection of the Dayton Art Institute, which had acquired the other version of the painting (the Lanfranconi-Tarkington version). The author of the entry rejects the attribution of the Corsini painting to Pontormo, confining himself to reproducing the Alinari picture and the same information as that published by Gamba in 1921 (Fifty Treasures, op. cit., p. 70).

Philippe Costamagna chronicled the many different phases of the painting’s critical history in his study on Pontormo in 1994. He agreed with what Gamba had previously said and, once again, published only the Lanfranconi version as he considered it to be of higher quality than the Corsini painting. However, Costamagna rejected the attribution of both paintings to Pontormo and ascribed the Lanfranconi version to Bronzino, while writing that the Corsini panel is not only lost, but a copy of the Lanfranconi version (Costamagna, op. cit., pp. 310-311). In any event, Costamagna draws attention to the fact that he could not see the two paintings physically because all trace of them had been lost (the Lanfranconi version had entered the Dayton Art Institute in 1949 and had been downgraded in the meantime to the status of a work by an apprentice; it was auctioned by Christie’s on 18 January 1984).

Between 2010 and 2011, I had the opportunity to examine the painting under discussion on fully three separate occasions. I saw it in New York and again while it was being cleaned in a conservation laboratory in Figline Valdarno in December 2010. I also had the good fortune to compare it with other works by Pontormo and Bronzino while I was arranging the exhibition Bronzino. Artist and Poet at the Court of the Medici. This series of coincidences helped me to analyze the painting in some depth. It also led me to draw different conclusions from those of the critics who had only studied the painting in the old photograph, without having had a chance see it.

The painting depicts a young man dressed in black secular garb, sitting at a worktable covered with a green cloth. The fingers of his left hand are leafing through the pages of a hand-written book while he holds a quill in his right hand, his pose appearing to suggest that he has just finished writing. The pages of the book are written in ink as though it were a notebook of some kind, but they are quite unusual: some sentences seem to be crossed out while others appear to have been rewritten, and there are words written crossways on the page as though to suggest a gloss added as an afterthought. In portraits with books, the painter usually depicts printed books or headed writing paper but in this case, since we cannot read the individual words, the book probably hints at his profession: a man of letters or a civil servant versed in the use of coded writing. The short, reddish beard of his young face suggests that he is probably aged between 20 and 30, and even if it is not possible to establish his true identity, we may assume that he is a Florentine intellectual of the same period as the painter who portrayed him, a conjecture suggested both by the friendly tone of his pose and gaze, and by the rapid brushwork. The paintwork, still in perfect condition, was originally applied in a very thin layer with a firm and rapid hand. The only visible sign of deterioration is the vertical crack that caused the panel to divide into two pieces. The crack has been successfully restored by simply repairing the wood and making good the painted surface. The sitter’s eyes are truly alive and the painting is both of exceptionally high quality and, at the same time, surprisingly severe in its reduced palette. The artist’s choices are very clearly in evidence and the style is of such a high standard that the painting cannot be attributed to a mere follower of Pontormo. In fact, it is possible to identify its author with greater certainty.

The first obvious stylistic reference is to Pontormo, as we can see in the structure of the portrait, in the influence of the northern European school and in the ovoid silhouette of the face with the wide-open, sparkling, rounded eyes that are another of the characteristic features of Pontormo’s style. One has but to compare it with the faces in the fresco in Poggio a Caiano or with the tondi painted for the Capponi Chapel in Santa Felicita. The depiction of the soft, tapering hands with their small, oval nails also echoes Pontormo’s style, as does the manner in which the black tunic is rendered, the differences in the grain of the fabric being portrayed with small black-on-black brushstrokes with tiny variations of shade reminiscent of the coat worn by Alessandro de’ Medici in Pontormo’s portrait of him in the John G. Johnson Collection, Philadelphia Museum of Art. The elegantly tapering hands recur in such works as the Visitation in Carmignano, or again in the Philadelphia Portrait of Alessandro de’ Medici, where we can also detect a similar tendency to cause the figure to emerge from an almost monochrome black background, an expedient invented by Leonardo to which Pontormo resorted in many of his works, the most representative of which is the double portrait now in the Fondazione Cini in Venice.

Yet in this Portrait of a Young Man with a Book there are other elements which are unknown in Pontormo’s work and which point us in the direction of his most famous pupil, Agnolo Bronzino, whose style, Giorgio Vasari tells us, was not easy to distinguish from that of Jacopo Pontormo in the years when master and pupil were working together on theEvangelist tondi for the Capponi Chapel in Santa Felicità. Vasari was writing about the years between 1525 and 1528, before Bronzino’s departure for Pesaro in 1530. Sure enough, while it is difficult to tell the two artists’ styles apart in the Capponi Evangelists, Bronzino’s painting tended thereafter to become increasingly polished and compact, the artist focusing increasingly on rendering the tactile evidence of nature as revealed to the senses. The Portrait of Lorenzo Lenzi (fig. 4), a young poet who was a friend and pupil of Benedetto Varchi, is generally dated to shortly before Bronzino’s journey to Pesaro, although it has been attributed to Pontormo in the past, and even Gamba himself, believing it to be by Pontormo, compared it to the portrait under discussion here in 1956. In his Portrait of Lorenzo Lenzi, Bronzino embarks on a style of painting capable of rendering the tactile nature of the tunic’s fabric and a clarity in the modelling of the face, the most direct precedent for which is to be found in this Portrait of a Young Man with a Book.

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Fig. 4 Agnolo Bronzino, Portrait of Lorenzo Lenzi, Castello Sforzesco, Milan.

In this panel too, the face is defined, albeit more rapidly, with a style of painting that imparts solid and luminous volume to it — a feature that most readily distinguishes Bronzino’s painting from that of Pontormo. Also the tapering and supple hands with their soft, wavering, cylindrical fingers, while based on Pontormo’s style, are almost identical with the hands of the sitter in the Portrait of Guidobaldo della Rovere in the Galleria Palatina di Palazzo Pitti in Florence, which Bronzino painted at the end of his stay in Pesaro in 1532 (fig. 5).

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Fig. 5 Agnolo Bronzino, Portrait of Guidobaldo della Rovere, Duke of Urbino / Palazzo Pitti, Florence / The Bridgeman Art Library

Yet the comparison with two earlier works by Bronzino is necessary to approach the dating of this portrait. Specific similarities both in the rapid yet soft brushwork and in the way the faces are drawn are also to be found in the Holy Family with St. Elisabeth and the Infant St. John the Baptist of c.1526-1528 in the National Gallery of Art in Washington (fig. 6). In particular, the Infant St. John’s face is painted with the same confidence as we see in this portrait, with the same determination to impart fleshy brilliance to the surface of the eyelids and to the sitter’s lineaments. Also identical are the vibrant, liquid brushstrokes defining the pages of the book — as soft as wax — in this portrait and St. Elisabeth’s lined skin in the Washington Holy Family.

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Fig. 6 Agnolo Bronzino, The Holy Family, Samuel H. Kress Collection, National Gallery of Art, Washington, D.C.

Further comparisons may be made with the Lamentation over the Dead Christ in the Uffizi (fig. 7), which Bronzino painted around 1529, where the Magdalene’s oval face has the same polished surface over which the light flows with intense clarity, defining the purity and fullness of her cheeks and eyes.

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Fig. 6 Agnolo Bronzino, The Dead Christ with the Virgin and St. Mary Magdalene / Galleria degli Uffzi, Florence / The Bridgeman Art Library

In conclusion, all of the above features come together to suggest the attribution of this outstanding portrait, which has finally come to light again after decades of oblivion, to take up its rightful place at the heart of the study of Florentine 16th-century painting, to the hand of Agnolo Bronzino, who must have painted it in strict adherence to Pontormo’s style between 1525 and 1527.

Carlo Falciani, Firenze, 20 Maggio, 2012

Christie’s. RENAISSANCE, 28 January 2015, New York, Rockefeller Plaza

Galerie Bastian at TEFAF 2015 Modern (13-22 March 2015)

23 vendredi Jan 2015

Posted by alaintruong2014 in Contemporary Art

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Étiquettes

'Unicorn-The Dream is dead', Andy Warhol, Car Crash, Damien Hirst, TEFAF 2015 Modern

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Andy Warhol (McKeesport 1928-1987 Manhattan), Car Crash. Screenprint on Curtis Rag paper. Unique print, 53.4 x 92.4 cm. Inscription with pencil, verso, ‘WP890.22’. Stamped ‘Authenticated Estate of Andy Warhol’ and ‘Andy Warhol Enterprises, Inc. 1978’, 1978. Galerie Bastian (stand 529). TEFAF 2015 Modern (13-22 March 2015)

Provenance: The Estate of Andy Warhol; The Andy Warhol Foundation for the Visual Arts

Literature: Exh. cat. Andy Warhol. Unique Prints from the Estate of Rupert Jasen Smith, Vrej Baghoomian Gallery, New York, 1991, n.n., ill. n.p; Frayda Feldmann, Jörg Schellmann, Andy Warhol Prints. A Catalogue Raisonné 1962-1987, Munich/New York 1997, cat. III A9[a], ill. p. 232; Exh. cat. Hommage à Cy Twombly, Galerie Bastian, Berlin, 2012, n.n. ill. n.p.

Exhibitions: New York, Vrej Baghoomian Gallery, Andy Warhol. Unique Prints from the Estate of Rupert Jasen Smith, 16 March-13 April 1991; Berlin, Galerie Bastian, Hommage à Cy Twombly, 24 Nov. 2012-23 Feb. 2013

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Damien Hirst (Bristol, 1965) Unicorn-The Dream is dead. Silver, glass container, water; 251 x 142 x 60 cm. AP (Edition of 3 + 1 AP). Inscription embossed on the edge of the table ‘UNICORN The Dream is dead Damien Hirst A/P’ 2005. Galerie Bastian (stand 529). TEFAF 2015 Modern (13-22 March 2015)

Provenance: Galería Hilario Galguera, Mexico City

Literature: Exh. cat. The Death of God. Towards a Better Understanding of a Life Without God Aboard the Ship of Fools, Galería Hilario Galguera, Mexico City, 2006, ill. p. 47; Exh. cat. Damien Hirst. Void, Ausstellungsraum Céline und Heiner Bastian, Berlin, 2008, cat. 8, ill. p. 44f

Exhibitions: Mexico City, Galería Hilario Galguera, The Death of God. Towards a Better Understanding of a Life Without God Aboard the Ship of Fools, 2 Feb.-27 Aug. 2006; Berlin, Ausstellungsraum Céline und Heiner Bastian, Damien Hirst. Void, 10 Nov. 2007-29 Feb. 2008

Galerie Bastian. Directors: Heiner Bastian, Dr Aeneas Bastian, Coraly von Bismarck

Masterworks assembled by Pierre & São Schlumberger to be offered at Sotheby’s

07 mardi Oct 2014

Posted by alaintruong2014 in Contemporary Art, Jewelry, Modern Art

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Étiquettes

Ad Reinhardt, Adolph Gottlieb, Alexander Calder, Andy Warhol, Baigneuse Au Ballon, Handshake and Fishtail, John Chamberlain, La Femme Poisson, Lambda II, Mark Rothko, Morris Louis, Mr. Moto, Pablo Picasso, Pierre and São Schlumberger, Red and Blue, Salvador Dalí, Swirling Sea Necklace

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Andy Warhol, A Group of Four Portraits of São Schlumberger. Each: acrylic and silkscreen ink on canvas. Each: 102.2 by 102.2cm; 40 ¼ by 40 ¼ in. Each executed in 1974. Est. $2/3 million. Photo: Sotheby’s.

NEW YORK, NY.- This November, Sotheby’s New York will present The Schlumberger Collection, the magnificent compendium of Modern and Contemporary masterworks acquired by distinguished collectors and benefactors, Pierre and São Schlumberger. The collection brings together over 90 outstanding works from the Twentieth Century with a combined estimate in excess of $85 million and is led by Mark Rothko’s pivotal canvas No. 21 (Red, Brown, Black and Orange) from 1951, which has been in The Schlumberger Collection for over 40 years. Other highlights include important Color Field, Abstract Expressionist, Pop, and Surrealist works, reflecting a lifetime of collecting fueled by a singular vision and relationships with artists forged over decades. Highlights will be on view in Hong Kong and London before the entire collection will be installed together in Sotheby’s New York headquarters for a special two-day preview exhibition from 22-24 October before being showcased in our main exhibitions of Impressionist & Modern and Contemporary Art from 31 October to 11 November. The Collection will be offered in the Evening and Day Sales of Impressionist & Modern Art and Contemporary Art on 4 & 5 and 11 & 12 November, respectively.

Oliver Barker, Deputy Chairman of Sotheby’s Europe commented: “Pierre and São Schlumberger belonged to one of the most important collecting dynasties of all time, but their vision was entirely their own: a unique aesthetic that blended their European roots with their American experience. Pierre’s early passion for the modern masters combined with São’s engagement with some of the key artists of the Twentieth Century to produce one of the most important private collections of our time, and helped prominent institutions including the Museum of Fine Arts Houston and the Centre Georges Pompidou to acquire major masterworks. For several decades, the Schlumbergers were at the center of both New York and Paris society, and hosted such luminaries as Yves Saint Laurent, Andy Warhol and Rudolph Nureyev in their homes around the world. It is a tremendous honor to share their extraordinary legacy with collectors this autumn.”

Pierre & São Schlumberger are considered two of the most visionary collectors of the Twentieth Century. A successful businessman from one of France’s most distinguished families, Pierre led the company founded by his father, Marcel, and uncle, Conrad, inventors of wireline logging, which is still the primary method used to locate and retrieve oil deposits from the earth’s subsurface all over the world. Pierre Schlumberger had already amassed a superlative collection of Modern art, inspired in part by his uncle, including works by Pierre Bonnard, Henri Matisse and Piet Mondrian, paralleling that of his cousin Dominique de Menil by the time he married São in 1961. Working closely with influential Post-War art dealers Alexander Iolas and Ileana Sonnabend, and nurturing close relationships with artists, São expanded the collection to include contemporary works by a range of artists including Mark Rothko, Ad Reinhardt, Andy Warhol, and Robert Rauschenberg, whose sculpture Oracle is now in the Pompidou Center collection.

As leading figures in Parisian and New York society, the Schlumbergers were major benefactors of the arts, helping to fund the restoration of Versailles, backing Robert Wilson’s early avant-garde operas and becoming the first patrons to commission Warhol for a silkscreen portrait. They sat on the boards of the Pompidou Center, where they donated works by Ellsworth Kelly and Frank Stella, and were patrons of The Museum of Modern Art, New York, Lincoln Center and The Museum of Fine Arts, Houston to which they donated a major Piet Mondrian grid painting. Their close circle also included some of the most prominent collectors of the day, including La duchesse de Bedford, Gunter Sachs, Gianni Agnelli, and, Ronald and Leonard Lauder.

The couple’s many residences expressed their distinctive tastes in art and design. The renowned architect of his time, Pierre Barbe, architect of the House in Chantilly for the Aga Khan, was a close friend of Pierre Schlumberger. Barbe was commissioned to rebuild the mansion on the Rue Férou near the Luxembourg Gardens which was decorated by Valerian Rybar and Daiere in an audacious and colorful blend of contemporary and classic styles. The home became a salon for artists such as Rauschenberg, Christo, Man Ray, Dalí, and Lichtenstein. The Schlumbergers’ other residences included a 100-acre estate in Portugal, where the couple once entertained 1,500 guests at the famous “Le Dolce Vita” ball, including Audrey Hepburn and Gina Lollobrigida; the David Hicks-designed Cap Ferrat estate, “Le Clos Fiorentina,” one of the French Rivera’s most beautiful villas; and a stunning Sutton Place apartment in New York. Wherever they were, Pierre and São were an irresistible magnet for a cadre of artists, designers, performers and society luminaries.

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Mark Rothko, No. 21 (Red, Brown, Black and Orange), signed and dated 1953 on the reverse. Oil on canvas, 241.5 by 162.5 cm; 95 by 64 in. Executed in 1951. Estimate upon request. Photo: Sotheby’s.

“This dramatic canvas ranks among Mark Rothko’s most compelling paintings – from the zenith of his career – to remain in private hands. Its composition brings fresh changes on the artist’s classic ‘signature’ style. Together, these factors make No. 21 a unique example of Rothko’s art.”
– Dr. David Anfam, Editor of the catalogue raisonné Mark Rothko: The Works on Canvas

No. 21 (Red, Brown, Black and Orange) stands at the pinnacle of Mark Rothko’s mature work and is being offered at auction for the first time having been purchased by the Schlumbergers from the artist’s estate. The vast canvas was executed in 1951, a pioneering period for the artist when he was exploring the very limits of abstraction. The canvas was first exhibited in the legendary exhibition 15 Americans at the Museum of Modern Art, New York in 1952. That seminal show included many of the most recognizable icons of American Art including Jackson Pollock’s Autumn Rhythm (Number 30) now in the collection of the Metropolitan Museum of Art and Clyfford Still’s 1947-S, in the collection of the San Francisco Museum of Modern Art. Subsequent to that show, the work has only been exhibited twice and has not been seen in public since the major European travelling retrospective of Rothko’s art organized by the Kunsthaus Zürich in 1971-72. Mr. Barker added, “Among the finest examples of the artist’s work remaining in private hands, No. 21 (Red, Brown, Black and Orange), could easily achieve a price in excess of $50 million.”

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Ad Reinhardt, Abstract Painting, Blue. Estimate $5,000,000-7,000,000. Photo: Sotheby’s

Abstract Painting, Blue is a historically monumental example of Ad Reinhardt’s groundbreaking oeuvre (est. $5/7 million). Painted in 1953, the watershed year in which the artist won the widespread critical praise of which he was so deserved, the work is an archetype of Reinhardt’s pioneering early output and among the largest canvases by the artist to appear at auction. “Major works by Reinhardt are extremely scarce on the market and the appearance of the present canvas at auction this November is a major event,” noted Mr. Barker.

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Adolph Gottlieb, Red and Blue. Estimate $2,000,000-3,000,000. Photo: Sotheby’s

The vast Red and Blue by Adolph Gottlieb is a prime example of the artist’s most accomplished renowned series of Burst paintings (est. $2/3 million). The archetypal abstract expressionist gesture of the Bursts is parallel to Jackson Pollock’s “drips”, Barnett Newman’s “zips” and Mark Rothko’s floating bands of color, and Red and Blue epitomizes the triumph of Gottlieb’s most significant series.

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Morris Louis, Lambda II. Estimate $1,000,000-1,500,000. Photo: Sotheby’s

The monumental eight-and-a-half by twelve-foot canvas of Morris Louis’ Lambda II encompasses the viewer with nearly symmetrical cascades of color (est. $1/1.5 million). The work is one of the first of a series of paintings the artist titled Unfurleds, executed primarily between June and July of 1960, they are widely considered the painter’s crowning achievement.

Sans nom 2

Alexander Calder, Handshake and Fishtail. Estimate $2,000,000-3,000,000. Photo: Sotheby’s

Handshake and Fishtail is archetypal of Alexander Calder’s most forcefully magnetic mobile sculptures (est. $2/3 million). Once in the prominent collection of famed Academy-Award winning director Billy Wilder, celebrated for classic films like The Apartment and Some Like It Hot, the present work’s illustrious provenance renders it a formidable model of Calder’s output during his most sought after period.

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John Chamberlain, Mr. Moto, 1963. Estimate $1,800,000-2,500,000. Photo: Sotheby’s

John Chamberlain’s pressed metal sculptures are some of the most distinctive works post-war sculpture. Mr. Moto from 1963 combines this gestural vigor with many of the aesthetic tenets of the burgeoning Pop Art movement (est. $1.8/2.5 million). Included in many of Chamberlain’s seminal career-defining exhibitions, this work was selected personally by Chamberlain for his retrospectives at the Solomon R. Guggenheim Museum in New York in both 1972 and 2012, Mr. Moto is one of Chamberlain’s earliest and foremost sculptural achievements.

Cité Fantoche was executed at the very peak of Jean Dubuffet’s artistic prowess and is one of the most accomplished paintings by the artist ever to appear at auction (est. $4/6 million). The simplified palette of Cité Fantoche, with carefully placed and energizing highlights of yellow, pink and orange lends the abstractive figuration a clearer contour and would become typical in series such as L’Hourloupe from late 1963 onwards.

Amongst the coterie of artists that São Schlumberger championed, there was perhaps none more important or favored than Andy Warhol. Significantly, it was Warhol who first sought out his subject for the spectacular quadruple Portrait São Schlumberger of 1974 (est. $2/3 million), and not vice versa. For the current work, the artist photographed her at the Carlyle Hotel in New York using his distinctive Polaroid camera. It was due to Sao’s support that Warhol’s retrospective at the Pompidou was able to take place.

Sans nom 3

Salvador Dalí, La Femme Poisson. Estimate $3,000,000-4,000,000. Photo: Sotheby’s

Leading an extraordinary group of Surrealist works is La Femme Poisson by Salvador Dalí (est. $3/4 million). Dating from his most important period the work is a spectacular example of Dalí’s boundless imagination and technical skill. La Femme Poisson features many of the signature motifs that characterize the Catalan’s work such as a clock, desert landscape, a shoe, and the cypress. The painting is inscribed to ‘Olivette’ Dalí’s term of endearment to his lover Gala Eluard.

Sans nom 4

Salvador Dalí, Swirling Sea Necklace. Estimate $100,000-150,000. Photo: Sotheby’s

São Schlumberger and Salvador Dalí shared a love for the lavish and avant-garde. The artist was commissioned to paint São’s portrait shortly after her marriage and the design for Swirling Sea Necklace must have been the subject, or indeed even the result, of the numerous fascinating conversations which took place between artist and sitter (est. $100/150,000). Executed after Dalí’s meticulous designs by his long term collaborator, New York jeweler Carlos Alemany, Swirling Sea Necklace is made up of flowing tassels set with pearls and emerald and sapphire beads flowing onto stylized gold. These elements culminate in that most precious and luminous product of the sea, a baroque cultured pearl, set on the crest of a wave and nestled in the nape of the wearer’s neck.

Painted in 1956, Les enfants belongs to a series of canvases executed by Pablo Picasso of his two youngest children (est. $5/7 million). Unlike his earlier more formal portraits of Paolo and Maya, Picasso’s paintings of Claude and Paloma offer an informal picture of his growing children. Picasso was a devoted father and took great pleasure from spending time with his children as the many photographs from this period indicate and in these works he set out to capture the essence of this experience. More than just a charming family scene, there is a curious tension at the heart of the present composition – the detail that Picasso has built up in his depiction of Claude is juxtaposed with the stark simplicity of his rendering of Paloma, perhaps referencing the growing absence of the children in his life at that time following his separation from their mother, Françoise Gilot.

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Pablo Picasso, Baigneuse Au Ballon. Estimate $1,000,000-1,500,000. Photo: Sotheby’s

The collection also includes the work-on-paper Baigneuse Au Ballon, an extraordinary piece exemplifying the unparalleled inventiveness of Picasso’s art which was drawn in August 1929 (est. $1/1.5 million). That summer the artist was holidaying with his wife Olga in Brittany but installed Marie-Thérèse Walter nearby. His frequent escapes to the beach to meet his young lover inspired many works from this period including Baigneuse Au Ballon.

Alain R. Truong

Alain R. Truong
janvier 2021
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