Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 33 n° 335

Post-War and Contemporary Art Amsterdam

Posted by fidest press agency su sabato, 14 novembre 2020

Amsterdam – Christie’s Post-War and Contemporary Art Amsterdam, an online-only auction, will take place from 10 to 26 November 2020. Reflecting the breadth of works offered in the Amsterdam live sale series, it will also offer works from two distinguished collections: Betty van Geest-van Garrel, an acclaimed Dutch journalist who wrote several books and interviewed artists for NRC Handelsblad and Ernest van Zuylen, a supporter of the CoBrA movement. The auction offers 153 works from artists around the globe, with a strong focus on German Post-War and Contemporary art, accounting for one third of the auction. Estimates range between €1,500 and €150,000, providing opportunities for collectors at all levels. Held for over half a century in the collection of celebrated Dutch arts and culture journalist and writer Betty van Geest- van Garrel, Shoe (1965, estimate: €3,000-6,000) and Stars (1953, estimate: €60,000-80,000) stem from the revolutionary early years of Yayoi Kusama’s practice. Acquired by van Garrel from Galerie OREZ in The Hague in 1965, they capture the major painterly and sculptural themes that would form the matrix of the artist’s output over the following decades. Shoe belongs to the early series of phallic sculptures that dominated Kusama’s practice during the 1960s. Three biomorphic forms, made from stuffed and sewn fabric, protrude from the interior of a gold-painted stiletto. Executed in 1953, while the artist was still living in Japan, Stars represents a vivid precursor to the ground-breaking Infinity Net paintings, characterised by their seemingly endless webs of tiny repeated dots.Executed in 1949 and 1953 respectively, Corneille’s Dépouillement (Dispossession), (estimate: €50,000-70,000) and Untitled (estimate: €4,000-6,000) originate from the collection of Ernest van Zuylen, the noted Belgian industrialist and patron of the arts, who was closely involved with the CoBrA movement. He became President of the Société Royale des Beaux Arts in his native Liège, and the two works presented bear witness to his fascination with Corneille: one of CoBrA’s founding members, who played a pivotal role in its evolution. Painted during the heady early days of the CoBrA revolution, Dépouillement captures Corneille’s fascination with mythic subject matter. After the disbandment of CoBrA in 1951, the artist travelled widely. Untitled reflects the jubilant light, colour and sensual textures that came to define his language during this period.


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