Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 33 n° 335

Posts Tagged ‘femme’

Pablo Picasso’s Femme assise près d’une fenêtre

Posted by fidest press agency su martedì, 6 aprile 2021

New York On 11 May, Christie’s newly introduced 20th Century Evening Sale in New York will be highlighted by Pablo Picasso’s Femme assise près d’une fenêtre (Marie-Thérèse), 30 October 1932 (estimate in the region of $55 million). One of the extraordinary series of iconic portraits that Picasso painted of his golden-haired muse during this landmark year, this monumental work is among the most stately and impressive depictions of Marie-Thérèse that the artist painted. Vanessa Fusco, Co-Head of the 20th Century Evening Sale, remarked: “From the defining series that introduced Marie-Thérèse to the public eye, Femme assise près d’une fenêtre (Marie-Thérèse) was painted during a seminal year in which Picasso crafted a new pictorial language to depict his muse and lover. This striking, monumental portrait was last seen publicly in the superb exhibition devoted to the artist’s “year of wonders,” Picasso 1932, at the Musée Picasso, Paris and Tate Modern, London in 2017-2018. As one of the most ground-breaking and influential artists of the 20th Century, it is only fitting that this exceptional painting will lead the inaugural newly formatted 20th Century Art Evening Sale at Christie’s.”Painted in Boisgeloup on 30 October 1932, Femme assise près d’une fenêtre (Marie-Thérèse) crowns this great series of 1932 masterpieces. By this time, Marie-Thérèse had risen to ascendance in every area of her lover’s output. In the present work, she has claimed absolute command, an idolized muse now reigning deity-like over the artist and his creation.Here, Picasso has presented Marie-Thérèse as a winged goddess, a modern-day Nike, her head lunar, luminous and sculptural as if carved from marble, and yet her body sensuous and soft, orbiting around her fiery red torso. No more the languorously reclining nude lost in a private reverie, in the present portrait she is clothed, alert and upright, her omniscient gaze demonstrating that she is in complete command of her subjects, the artist, her lover, clearly captive to her thrall.The year 1932 witnessed the extraordinary outpouring of large-scale, color-filled, rhapsodic depictions of Marie-Thérèse. Having deified her statuesque forms and classical profile in the great series of plaster busts the year prior, Picasso allowed the influence of his young mistress and the bliss in which he found himself, fill his painting. Pictured both seated and reclining, this series saw Picasso perform artistic alchemy with these two revered motifs. With this great succession of paintings—which includes works such as Le Rêve, Nude, Green Leaves, and Bust, Le Lecture (Musée Picasso, Paris), and Jeune fille devant le miroir (The Museum of Modern Art, New York) —Picasso reached the height of his artistic powers. “There is no doubt,” William Rubin declared, “that 1932 marks the peak of fever-pitch intensity and achievement, a year of rapturous masterpieces that reach a new and unfamiliar summit in both his painting and sculpture.”

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Pablo Picasso’s Baigneuses, Sirènes, Femme Nue et Minotaure

Posted by fidest press agency su giovedì, 2 luglio 2020

New York – As part of ONE: A Global Sale of the 20th Century, Pablo Picasso’s Baigneuses, sirènes, femme nue et minotaure (1937, estimate: $6,000,000-9,000,000) will be offered in the New York session. Here, Picasso depicts the projection of an inner self, in the form of the Minotaur, a character lifted directly from ancient mythology. In the late 1920s, Picasso’s interest in Surrealism, especially through his close friendships with Paul Éluard and other poets in the vanguard of the movement, inspired him to take broad license with classical fables, to practice his own method of creative reconfiguration. The artist, moreover, had been writing poetry since April 1935, and, indeed, was at work during 6-19 March 1937 producing a stream of verbal imagery, on 17 March, he wrote “desire so cramped in its prison explodes the eggshell of the sea and lights up the bars that confine it”. Baigneuses, sirènes, femme nue et minotaure represents an inventive pictorial narrative used to visualise this “exploding desire” in a free play of iconography that Lydia Gasman described as the artist’s “mythological syncretism, generally based on inversions, the conjunction of opposites, and the conflation of heterogenous elements”.
Olivier Camu, Deputy Chairman, Impressionist and Modern Art, Christie’s: “Baigneuses, sirènes, femme nue et minotaure is a masterpiece of execution by Pablo Picasso and we are thrilled to offer this exquisite painting as part of ONE: A Global Sale of the 20th Century. It has never been offered at auction before, having remained in the family of the artist for over 80 years. Multiple meanings can be drawn from this powerful yet exquisite work in which Picasso depicts his magnificent mythological alter ego the Minotaure carrying and surrounded by his lovers.”

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Lettre autographe signée « BP », Quartier Général Milan 28 floréal IV (17 mai 1796), à sa femme Joséphine

Posted by fidest press agency su domenica, 7 aprile 2019

Paris Jeudi 4 avril, la session de printemps des Collections Aristophil s’est poursuivie par les ventes orchestrées par les maisons Ader et Aguttes. Toutes deux ont abordé, pour la première fois depuis la vente inaugurale du 20 décembre 2017, le thème « Histoire ».
Amateurs et collectionneurs étaient présents pour acquérir des témoignages de l’histoire de France ou des pays voisins. La vente présentée par Ader a totalisé près d’1,5M€ et s’est illustrée par trois lettres d’amour que Napoléon Ier écrivit à son épouse Joséphine entre 1796 et 1804, qui totalisent 513 500 €. L’émouvant manuscrit de Camille DESMOULINS (1760-1794), journaliste et révolutionnaire guillotiné avec Danton, écrit pour sa propre défense lors de son procès contre le rapport accusatoire de Saint-Juste a trouvé preneur à 24 700 € avant d’être préempté par la Bibliothèque historique de la Ville de Paris. Plus annecdotique, mais symbole fort de la Seconde Guerre mondiale, une machine Enigma à encoder s’est vendue 48 100 € contre une estimation de 30 000 – 40 000 €. À l’image du contenu de nombreuses ventes des Collections Aristophil, la qualité patrimoniale de l’ensemble a de nouveau été soulignée par l’intense participation des institutions nationales.

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