O Maravilhoso Livro do Sexo, Como Fazer (The Wonder Book of Sex, How to Do It) - Glen Baxter
Coleção privada
Giz de cera e tinta sobre papel - 77x56 - 1994
domingo, 1 de dezembro de 2019
O Maravilhoso Livro do Sexo, Como Fazer (The Wonder Book of Sex, How to Do It) - Glen Baxter
O Maravilhoso Livro do Sexo, Como Fazer (The Wonder Book of Sex, How to Do It) - Glen Baxter
Coleção privada
Giz de cera e tinta sobre papel - 77x56 - 1994
Estudo para "De Repente, Um Verão" (Study for "Suddenly One Summer") - Jack Vettriano
Estudo para "De Repente, Um Verão" (Study for "Suddenly One Summer") - Jack Vettriano
Coleção privada
OST - 30x25 - 2013
Joia em Nefrita Esculpida em Formato de Crocodilo, Fabergé, Circa 1900, Rússia
Joia em Nefrita Esculpida em Formato de Crocodilo, Fabergé, Circa 1900, Rússia
Joia
Nephrite is a variety of the calcium, magnesium, and
iron-rich amphibole minerals tremolite or actinolite (aggregates of
which also make up one form of asbestos). The chemical formula for
nephrite is Ca2(Mg, Fe)5Si8O22(OH)2. It is one of two different
mineral species called jade. The other mineral species known as jade
is jadeite, which is a variety of pyroxene. While nephrite jade possesses
mainly grays and greens (and occasionally yellows, browns or whites), jadeite
jade, which is rarer, can also contain blacks, reds, pinks and violets.
Nephrite jade is an ornamental stone used in carvings, beads,
or cabochon cut gemstones. Nephrite is also the official state
mineral of Wyoming.
Nephrite can be found in a translucent white to very light
yellow form which is known in China as mutton fat jade, in an
opaque white to very light brown or gray which is known as chicken
bone jade, as well as in a variety of green colors.
Western Canada is the principal source of
modern lapidary nephrite. Nephrite jade was used mostly in
pre-1800 China as well as in New Zealand, the Pacific Coast and
Atlantic Coasts of North America, Neolithic Europe, and southeast Asia.
Nota do blog: Purchased by Dowager Empress Maria
Feodorovna (1847-1928) from the St Petersburg branch of Fabergé on 9 February
1895 for 160 roubles and was probably presented to her younger sister Thyra,
Princess of Denmark, as a gift.Tablado Flamenco (Tablao Flamenco) - Fernando Botero
Tablado Flamenco (Tablao Flamenco) - Fernando Botero
Coleção privada
OST - 201x202 - 1984
“The problem is to determine the source of the pleasure when
one looks at a picture,” Botero explains. “For me, the pleasure comes from the
exaltation of life, which expresses the sensuality of forms.” Famed for
the lushly proportioned, pillowy bodies of his now-eponymous nudes, Botero has
for decades applied his facetious wit to subjects spanning Colombia’s military
junta and its red-light district, Catholic clergymen and the bourgeoisie. Since
his departure for Europe in 1952, he has drawn from myriad art-historical
sources—Titian and Velázquez; Giotto and Masaccio; Rubens and Ingres—and
embraced the classical sensuality of volume, space, and color in legions of
stylized “Boteromorphs.” Enamored as a boy of the glamorous “Vargas girls” that
he saw in Esquire magazine, Botero has long since cultivated an
aesthetics of abundance in figures whose proportions defy fashionable
conventions of beauty. Formidable and yet charmingly naïve, his characters play
out scenes and drollery from everyday life, often set in the idealized world of
Medellín, Botero’s birthplace.
“My first passion was the bulls,” he recalls. “One day, my uncle Joaquín enrolled me in a training school for bullfighters. Run by Aranguito, a banderillero, it operated in the Macarena bull ring in Medellín. I would go to the bull ring two or three times a week and hang out there. I got to be good at dodging imaginary horns and at toreo de salón, that is, cape and muleta work without a bull. I went to see the great matadors of the time—Manolete, Lorenzo Garza, Arruza, and the others. But the day they brought in a real, live bull for us to work with, my passion cooled.” Botero declined the precarious profession of the torero, but he nevertheless found in bullfighting a profound and enduring subject, its ritualized spectacle of life and death memorialized in a now iconic series of paintings and sculptures.
Although Botero drew scenes from the corrida as a boy, he returned to the bull ring in the 1980s in full cognizance of the art-historical canon into which he entered. “In 1983, after attending a bullfight in Medellín, I retraced my steps along the road on which I had started,” he explained. “I thought to myself: ‘This is a worthy subject with a long tradition—Goya, Manet, Picasso,’ and so I did my version of the bullfight.” Botero’s revival of the bullfight is steeped in this iconographic tradition, from its basis in Spanish patrimony and pageantry to its sobering meditations on the human condition. He drew parallels between the bull ring and the canvas, declaring, “A great matador such as Juan Belmonte defined the classical in bullfighting as ‘what cannot be done better’ and I think that this definition can be applied also in art.” In 1985, he exhibited his own corrida paintings, among them the present work, for the first time at Marlborough Gallery in New York.
The performative passions of bullfighting and flamenco are inseparable in Spanish culture, and Tablao flamenco takes its place within Botero’s tauromachian universe alongside dashing matadors and elegant majas. Here in a ruffled red dress, the bailaora raises her arms with dramatic flair, clicking castanets dangling from her thumbs. The sinuous shape of her body sweeps into an arabesque, balanced on a dainty green heeled shoe, as she moves to the rhythm of the music. Performing in the intimate space of a traditional tablao, she is encircled by a guitar player and two hand-clapping dancers, one seated and the other diminutive; a couple exits the club behind her, their limbs mirroring the curves of her torso. Tablao flamenco doubtless nods to John Singer Sargent’s monumental tribute to the dance, El Jaleo (1882; Isabella Stewart Gardner Museum), a scene of raw, frenetic energy and eros. Yet Botero’s tableau is comparatively, and characteristically composed; the figures revolve around the central bailaora in musical and chromatic harmony, accenting the rubescence of her costume with visual grace notes of yellow ocher and complementary green. Flamenco’s twirling, percussive movement suggestively simulates the bravura choreography of the bull ring, and Botero posits the dance as a florid sublimation of the bullfight’s mortal danger. “My great source of pleasure, almost as intense as painting, is to watch a bullfight every day—on video if need be,” Botero once reflected. “Bullfighting, in an increasingly grey world, is one of the few fields that still has colour.”
Abby McEwen, Assistant Professor, University of Maryland, College Park
“My first passion was the bulls,” he recalls. “One day, my uncle Joaquín enrolled me in a training school for bullfighters. Run by Aranguito, a banderillero, it operated in the Macarena bull ring in Medellín. I would go to the bull ring two or three times a week and hang out there. I got to be good at dodging imaginary horns and at toreo de salón, that is, cape and muleta work without a bull. I went to see the great matadors of the time—Manolete, Lorenzo Garza, Arruza, and the others. But the day they brought in a real, live bull for us to work with, my passion cooled.” Botero declined the precarious profession of the torero, but he nevertheless found in bullfighting a profound and enduring subject, its ritualized spectacle of life and death memorialized in a now iconic series of paintings and sculptures.
Although Botero drew scenes from the corrida as a boy, he returned to the bull ring in the 1980s in full cognizance of the art-historical canon into which he entered. “In 1983, after attending a bullfight in Medellín, I retraced my steps along the road on which I had started,” he explained. “I thought to myself: ‘This is a worthy subject with a long tradition—Goya, Manet, Picasso,’ and so I did my version of the bullfight.” Botero’s revival of the bullfight is steeped in this iconographic tradition, from its basis in Spanish patrimony and pageantry to its sobering meditations on the human condition. He drew parallels between the bull ring and the canvas, declaring, “A great matador such as Juan Belmonte defined the classical in bullfighting as ‘what cannot be done better’ and I think that this definition can be applied also in art.” In 1985, he exhibited his own corrida paintings, among them the present work, for the first time at Marlborough Gallery in New York.
The performative passions of bullfighting and flamenco are inseparable in Spanish culture, and Tablao flamenco takes its place within Botero’s tauromachian universe alongside dashing matadors and elegant majas. Here in a ruffled red dress, the bailaora raises her arms with dramatic flair, clicking castanets dangling from her thumbs. The sinuous shape of her body sweeps into an arabesque, balanced on a dainty green heeled shoe, as she moves to the rhythm of the music. Performing in the intimate space of a traditional tablao, she is encircled by a guitar player and two hand-clapping dancers, one seated and the other diminutive; a couple exits the club behind her, their limbs mirroring the curves of her torso. Tablao flamenco doubtless nods to John Singer Sargent’s monumental tribute to the dance, El Jaleo (1882; Isabella Stewart Gardner Museum), a scene of raw, frenetic energy and eros. Yet Botero’s tableau is comparatively, and characteristically composed; the figures revolve around the central bailaora in musical and chromatic harmony, accenting the rubescence of her costume with visual grace notes of yellow ocher and complementary green. Flamenco’s twirling, percussive movement suggestively simulates the bravura choreography of the bull ring, and Botero posits the dance as a florid sublimation of the bullfight’s mortal danger. “My great source of pleasure, almost as intense as painting, is to watch a bullfight every day—on video if need be,” Botero once reflected. “Bullfighting, in an increasingly grey world, is one of the few fields that still has colour.”
Abby McEwen, Assistant Professor, University of Maryland, College Park
Nota do blog: Foi vendido por USD 2,055,000.
Menino Risonho com Sanduíche e Filhote de Cachorro, Amigos com Fome (Laughing Boy with Sandwich and Puppy Hungry Buddies) - Norman Rockwell
Menino Risonho com Sanduíche e Filhote de Cachorro, Amigos com Fome (Laughing Boy with Sandwich and Puppy Hungry Buddies) - Norman Rockwell
Coleção privada
OST - 25x20 - 1921
The present work was published as the cover illustration for
the October 1921 issue of American Magazine.
In the seven cover illustrations he created for American Magazine between 1918-23, Norman Rockwell painted one of his favorite subjects, children, with his characteristic appeal and charm. In these works, he created intimate compositions focusing on his young subjects' facial expressions in amusing situations, from poorly singing and playing the flute to falling asleep while studying and applying over-the-top makeup.
In the present work, Rockwell captures a delightful image of a young, rosy-cheeked boy trying to keep his sandwich away from his hungry canine companion. As the child, modeled by Bun Barton, giggles, the dog peeks over his shoulder to stare at the meal with wide eyes and open mouth. “A dog-lover himself, the artist realized how appealing dogs were to readers of the Saturday Evening Post and other publications, and he intentionally cast them as central figures in his compositions for cover paintings, story illustrations, advertisements, and family Christmas cards. Rockwell’s own canine companions accompanied him to the studio, and sometimes took time out to nap alongside him as he worked. He also borrowed neighbors’ dogs to serve as models, enlisting their owners to assist them in striking a pose. Offering advice to fellow artists, he coached them to portray animals ‘as carefully and understandingly’ as they paint people in their work, and filed away stores of photographic reference for his use.” (“It’s a Dog’s Life: Norman Rockwell Paints Man’s Best Friend,” www.nrm.org, 2011)
In this colorful and playful image, the inclusion of the dog is perhaps also a pun referencing the title of the article it first appeared above when published–Dr. Frank Crane’s personality and politeness test, “Are You Well Bred?”
In the seven cover illustrations he created for American Magazine between 1918-23, Norman Rockwell painted one of his favorite subjects, children, with his characteristic appeal and charm. In these works, he created intimate compositions focusing on his young subjects' facial expressions in amusing situations, from poorly singing and playing the flute to falling asleep while studying and applying over-the-top makeup.
In the present work, Rockwell captures a delightful image of a young, rosy-cheeked boy trying to keep his sandwich away from his hungry canine companion. As the child, modeled by Bun Barton, giggles, the dog peeks over his shoulder to stare at the meal with wide eyes and open mouth. “A dog-lover himself, the artist realized how appealing dogs were to readers of the Saturday Evening Post and other publications, and he intentionally cast them as central figures in his compositions for cover paintings, story illustrations, advertisements, and family Christmas cards. Rockwell’s own canine companions accompanied him to the studio, and sometimes took time out to nap alongside him as he worked. He also borrowed neighbors’ dogs to serve as models, enlisting their owners to assist them in striking a pose. Offering advice to fellow artists, he coached them to portray animals ‘as carefully and understandingly’ as they paint people in their work, and filed away stores of photographic reference for his use.” (“It’s a Dog’s Life: Norman Rockwell Paints Man’s Best Friend,” www.nrm.org, 2011)
In this colorful and playful image, the inclusion of the dog is perhaps also a pun referencing the title of the article it first appeared above when published–Dr. Frank Crane’s personality and politeness test, “Are You Well Bred?”
Sem Chance de Ficarem Sozinhos (No Chance to Be Alone) - George Hughes
Sem Chance de Ficarem Sozinhos (No Chance to Be Alone) - George Hughes
Coleção privada
Óleo sobre painel - 76x57 - 1953
The present work was published as the cover illustration of the
August 8, 1953 issue of The Saturday Evening Post.
Quarto Desarrumado, Meninos Arrumados (Messy Room, Neat Boys) - George Hughes
Quarto Desarrumado, Meninos Arrumados (Messy Room, Neat Boys) - George Hughes
Coleção privada
OST - 74x56 - 1955
George Hughes was an American illustrator who created more than
100 covers for the Saturday Evening Post and whose work was featured
in other popular publications such as Vanity Fair. The present work
was published as the cover illustration of the October 22, 1955 issue of The
Saturday Evening Post.
Nos Altos Álamos (In the High Aspens) - Oscar Edmund Berninghaus
Nos Altos Álamos (In the High Aspens) - Oscar Edmund Berninghaus
Coleção privada
OST - 64x76
Mesa de Um Provador de Vinho (A Wine Taster's Table) - John F. Francis
Mesa de Um Provador de Vinho (A Wine Taster's Table) - John F. Francis
Coleção privada
OST - 64x76 - 1858
Paisagens: Trenós (Landscapes: Sledding) - Norman Rockwell
Paisagens: Trenós (Landscapes: Sledding) - Norman Rockwell
Coleção privada
OST - 35x35 - 1959
From 1948 through 1964, Norman Rockwell was commissioned by
Brown & Bigelow to illustrate their annual Four Seasons calendar.
Each calendar focused on a single theme, and Rockwell’s four illustrations
presented various seasonal activities. Landscapes: Sledding was
included in the 1959 calendar as the winter illustration. The spring
illustration features boys and girls departing school at the end of the day;
summer presents a boy, seated atop a fence with his dog by his side, watching a
train move across the landscape and autumn shows school children walking past
the local swimming hole and reluctantly returning to the classroom. Rockwell
painted Landscapes: Sledding in 1959, a time when he was thoroughly
committed to the use of photography in his creative process. Indeed, the artist
took nearly forty preparatory images for the present work, including a shot of
himself posing for the central figure. Rockwell also produced two oil studies
for Landscapes: Sledding, one of which is in the collection of the Norman
Rockwell Museum, Stockbridge, Massachusetts.
Landscapes: Sledding encompasses many of the themes that define the artist’s long career as America’s storyteller. Rockwell noted, “I was showing the America I knew and observed to others who might not have noticed. And perhaps, therefore, this is one function of the illustrator. He can show what has become so familiar that it is no longer noticed. The illustrator thus becomes a chronicler of this time.” (as quoted in L.N. Moffatt, Norman Rockwell: A Definitive Catalogue, vol. I, Stockbridge, Massachusetts, 1986, p. xii) With the present work, Rockwell succeeds in capturing the nostalgia of childhood and the sense of community that is as familiar today as it was when he painted this captivating work.
Landscapes: Sledding encompasses many of the themes that define the artist’s long career as America’s storyteller. Rockwell noted, “I was showing the America I knew and observed to others who might not have noticed. And perhaps, therefore, this is one function of the illustrator. He can show what has become so familiar that it is no longer noticed. The illustrator thus becomes a chronicler of this time.” (as quoted in L.N. Moffatt, Norman Rockwell: A Definitive Catalogue, vol. I, Stockbridge, Massachusetts, 1986, p. xii) With the present work, Rockwell succeeds in capturing the nostalgia of childhood and the sense of community that is as familiar today as it was when he painted this captivating work.
Assinar:
Postagens (Atom)