Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 33 n° 244

Posts Tagged ‘portrait’

David Hockney’s Portrait of Sir David Webste

Posted by fidest press agency su venerdì, 23 ottobre 2020

London – On 22 October 2020, Christie’s auctioned David Hockney’s Portrait of Sir David Webster, a tribute to Sir David Webster, the former General Administrator of the Royal Opera House, for £12,865,000 in the Post-War and Contemporary Art Evening Auction. The painting was offered by the Royal Opera House with proceeds from the sale contributing towards vital funding they require. This will go some way to alleviating the financial impact of coronavirus on the world-renowned arts venue to, the most serious crisis the organisation has had to face. This will allow the Royal Opera House not just to survive but to thrive in its future programming. Painted in 1971, it depicts Webster in the artist’s studio, seated upon a Mies van der Rohe ‘MR’ chair before a glass table.Alex Beard, Chief Executive of the Royal Opera House, said:”As we face the biggest crisis in our history, the sale of David Hockney’s wonderful portrait of Sir David Webster, is a vital part of our strategy for recovery. The painting sold for £12,865,000, and the proceeds will be used by us to ensure that the world’s greatest artists can once more return to our stages. This will allow the Royal Opera House to sustain our community of artists through this period, and to ensure we can continue to delight audiences for decades to come with extraordinary ballet, dance, music and opera.” Katharine Arnold, Co-Head, Post-War and Contemporary Art Europe: “As a long-established British institution, Christie’s is proud to have achieved a price of £12,865,000 for this major painting by David Hockney. This will contribute to supporting the future of the Royal Opera House, which is a great national treasure.”

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David Hockney’s Portrait of Sir David Webster to be offered in the Post-War and Contemporary Art Evening Auction

Posted by fidest press agency su venerdì, 9 ottobre 2020

London – Christie’s will present David Hockney’s Portrait of Sir David Webster, an exquisite tribute to Sir David Webster, the former General Administrator of the Royal Opera House and a defining influence, in the Post-War and Contemporary Art Evening Auction on 22 October 2020. Painted in 1971, it depicts Webster in the artist’s studio, seated upon a Mies van der Rohe ‘MR’ chair before a glass table. The painting is being offered by the Royal Opera House with an estimate of £11-18 million. Proceeds from the sale will contribute towards vital funding required by the world-renowned arts venue to alleviate the financial impact of coronavirus, the most serious crisis the organisation has had to face. This will allow the Royal Opera House not just to survive but to thrive in its future programming.Rendered on a grand scale, the work unites Hockney’s flair for human observation with his lifelong passion for opera. From 1975 until 1992, David Hockney would design sets for venues including Glyndebourne, the Metropolitan Opera in New York and the Royal Opera House itself. Inviting stylistic comparison with Hockney’s landmark double portraits produced between 1968 and 1975, Portrait of Sir David Webster demonstrates the meticulous exploration of space, perspective, lighting and compositional drama that would eventually come to inform his theatrical endeavours.Katharine Arnold, Co-Head, Post-War and Contemporary Art Europe: “David Hockney’s Portrait of Sir David Webster is an extraordinary painting that perfectly captures the artist’s mastery of paint and flair for colour. Rendered in brilliant shades, Hockney has animated the visionary figure of Sir David Webster; a man who was instrumental in the expansion of the Royal Opera House into the institution we know and love at the heart of London. Painted at the height of Hockney’s naturalistic phase, so profoundly demonstrated in his double portraits of this time, we see the artist’s expert handling of light and shade: the way that cloth drapes around the body, how light passes through glass, reflects off curved stainless steel. With Hockney’s light hearted wit, he devotes half of the canvas to a blushing vase of tulips, the artist’s favourite flower. The staging of this painting feels almost theatrical, which is of course a fitting tribute. A renowned opera enthusiast, Hockney went on to design ground-breaking stage sets for major operas from 1975-1992 including the Royal Opera House. As a long-established British institution, Christie’s is proud to be offering this major painting to support the future of the Royal Opera House, which is a great national treasure. Portrait of Sir David Webster will be a key anchor of our 20th Century Paris to London sale season, which celebrates the cultural landscape of these dynamic cities.”Portrait of Sir David Webster notably features the same glass table and vase of tulips as the 1969 painting Henry Geldzahler and Christopher Scott. The tulips rendered in vibrant colour sit atop a translucent glass table top: a phenomenon that recalls the extraordinary illusionism of Hockney’s treatment of water in his swimming pool paintings. Webster himself is seen seated in a Mies van der Rohe, Marcel Breuer chair just as Ossie Clark is featured in Mr and Mrs Clark and Percy (Tate, London), completed the same year. Though Webster sits alone, the painting captures the sense of hyper-real interaction that lay at the heart of the double portraits: the tulips are startlingly anthropomorphic, as vivid, alive and conversational as another person in the room.

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Thomas Kovachevic Portrait of a Room

Posted by fidest press agency su venerdì, 8 febbraio 2019

Milano Opening giovedì 14.02.2019 dalle 19.00 alle 21.00 (15.02.2019 – 27.03.2019) Foro Buonaparte 52 la Galleria Poggiali di Milano presenta Portrait of a Room, la prima mostra personale dell’artista americano Thomas Kovacevich (Detroit, 1942) in Italia, a cura di Chiara Bertola.Portrait of a Room raccoglie un corpus di opere pensate dall’artista appositamente per la Galleria legate alla materia che ha caratterizzato e attraversato tutta la sua carriera: la carta e la sua enorme possibilità di vita e di trasformazione. Un’installazione unica, che entra in relazione con lo spazio cubico della project-room e con l’ampia e luminosa vetrina che si apre su Foro Buonaparte creando un’inaspettata profondità spaziale.Nello spazio illuminato a luce naturale, Kovachevich ha preso il più semplice dei materiali – nastro da imballaggio bianco e nastro di gros grain – e ha creato tre lavori separati che si percepiscono allo stesso tempo scultorei e pittorici. Ogni tableau a parete è composto da lunghe strisce di nastro di gros-grain fissate in alto e in basso su un pezzo più spesso di nastro. Appese una dopo l’altra, le strisce creano un quadrato di colore vivo che si trasforma con lo spostamento nello spazio e l’umidità nell’aria. La striscia di carta si muove e si arriccia intorno al nastro, respira, vive, si trasforma nell’arco del giorno man mano che cambia il livello di umidità nella stanza. I tre grandi quadri alle pareti della galleria non sono soltanto una registrazione dei cambiamenti nell’ambiente, ma rappresentano anche un modo peculiare di percepire la stanza, rendendo visibile l’invisibile. Quando i nastri di carta incollati al gros-grain si aprono e si chiudono, tutta la parete vibra e si muove come se fosse attraversata dal vento e dall’aria esattamente come la luce vibrava nei campi en plain air di una tela impressionista.”Per affrontare l’opera di Thomas fatta soltanto di carta – sottolinea nel suo testo in catalogo Chiara Bertola, curatrice della mostra – ho dovuto rimettermi a studiare questioni che avevo dato per scontato sul vedere e sul guardare. Ho sentito l’esigenza di riprendere in mano gli studi sulla percezione di Rudolf Arnheim e farmi aiutare dalla sapienza antica di Socrate per ricordarmi che non vediamo perché abbiamo gli occhi, ma che abbiamo gli occhi “per vedere”. Per trasformare lo spazio della stanza della galleria in un paesaggio congelato a Thomas Kovachevich sono stati sufficienti tre cubi di carta increspata, una colonna composta da tubicini di carta trasparente e un gruppo di sagome ritagliate in carta traslucida che ancora lascia passare la luce. La sensazione è quella di ritrovarsi davanti un paesaggio fatto di iceberg, stalattiti e geyser, dove le forme semitrasparenti, acquistano volume e dimensione contenendo la luce al loro interno.Gran parte del lavoro di Kovachevich ha una qualità intima che gioca tra il controllo e incidente e investe la geometria con un contenuto emotivo. Per l’artista americano le forme sono esplorazioni razionali della geometria e il contenuto emotivo insito nel suo lavoro è costituito da una componente irrazionale. “Credo che uno dei motivi per cui ero attratto dal minimalismo – racconta lo stesso Kovachevich – era il suo tentativo di definire la purezza. Tuttavia, nel mio lavoro ho sempre cercato di investire la geometria con un contenuto emotivo.”Thomas Kovacevich fa parte di quella generazione di artisti che, in America, tra la fine degli anni ’60 e i primi anni ’70, hanno esplorato l’idea di smaterializzazione dell’arte per rendere il processo creativo accessibile al pubblico; si avvicina alle ricerche della Process Art e utilizza materiali naturali e industriali confrontandoli per esaltarne l’espressività primaria delle loro proprietà fisiche. Gli artisti a lui più affini sono Richard Tuttle per l’utilizzo di materiali, James Lee Byers che rende l’invisibile la sua arte e Tom Shannon che gioca con la meraviglia della scienza. Per l’occasione sarà edito un catalogo con testo critico di Chiara Bertola.

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Portrait of the Artist’s Daughter, Clara Serena

Posted by fidest press agency su venerdì, 4 maggio 2018

London – Christie’s will offer Portrait of Clara Serena, the Artist’s Daughter by Peter Paul Rubens in the London Old Masters Evening Sale on 5 July, during Classic Week (estimate: £3-5 million). Never intended for public display, this seminal work offers a rare glimpse into the private life of the greatest artist of the Northern Baroque. The portrait is on public view in New York until 5 May, later going on view in Hong Kong from 24 to 28 May, before being exhibited in London in the lead up to the sale. Henry Pettifer, Head of Old Master Paintings, Christie’s London: “Rubens’ paintings of his family members, freer and bolder than those of his wealthy clientele, count amongst his greatest achievements in portraiture. This spontaneous likeness of Clara Serena, his only daughter with his wife Isabella Brant, painted around the time of her untimely death at the age of twelve, is extraordinary for its intimacy and timeless appeal. Its appearance on the market this summer comes after the picture has featured in recent high profile exhibitions at the Rubenshuis in Antwerp and the Scottish National Gallery, Edinburgh, and it is the first major work by Rubens to appear at Christie’s in London since the record breaking sale of Lot and his Daughters in July 2016”.

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The Portrait Regained

Posted by fidest press agency su martedì, 10 agosto 2010

Bellinzona (Switzerland) until 12 September 2010 (Fri-Sat-Sun_2.00-6.00 p.m. or by appointment)The CACT Centre of Contemporary Art in Canton Ticino is presenting a group show entitled The portrait regained. The artists were chosen on the basis of their purely thematic, rather than idiomatic, convergence. In addition to socio-political upheavals that have given new styles and tools of thought to mankind and artists, portraiture is certainly one of the oldest and paradoxically one of the universal themes shared by different cultures, for the very reason that it is capable of crossing the centuries and representing man/mankind in different historical or social contexts and/or situations. From a philosophical standpoint, a portrait is none other than the representation of the subject portrayed by the artist; even when it approaches a real situation, the work of art sets out to sketch an image of man’s existential/existentialist universe. But from a more analytical standpoint, a portrait (re-)designs the individual observer’s or the artist’s own subjective subconscious by reading the psychology of the person portrayed. While the American painter Jon Campbell (USA-Germany, 1982) delicately unveils the sensual rapport he seeks with his model in his virile portraits Dritan (2009) and Nic (2008), Francesca Guffanti (Italy, 1962) is showing a canvas, from a series dedicated to Laura, in which her favourite model is portrayed as a prostitute; this works as a double portrait, where the model acts and willingly plays a part, while the painter strengthens her interpretative personality, bolstering it with her personal approach. The video Mother (2010) is a touching portrait of his mother produced by Mirko Aretini (Switzerland, 1984) in the form of a filmed diary, a sort of confession-cum-testimonial of the poignancy and fragility of a human being (his mother) balanced on the knife-edge between lack of awareness and contingency. While Martin Sulzer (Germany, 1977) has produced a video self-portrait, Vasaernap (2007), where the ways in which he has used the technical medium are an integral part of the portrait he has made of himself, going back over the thematic traces of the ‘definition of identity’, Silent storage (2010) is a piece shot in Catania by Veronica Tanzi (Switzerland, 1975) as a silent – so only visual – video-interview with a character from the centre of the Sicilian port city. Trans-identity, but not trans-sexuality, is the leitmotiv in this new three-part piece of work. Perdition, depression and death are the cardinal points in Blustery (2008), a video self-portrait presented to the public for the first time by Pier Giorgio De Pinto (Switzerland, 1968). Autobiographical in nature, this piece is touching for the pathos generated by absence as an element of death. Two portraits of the exhibition’s curator are the works of the artists Paolo Ravalico Scerri (Italy, 1965), Enchanting Prison (2009), and M.L.C. (2010) by Fiorenza Bassetti (Switzerland). These two artists have focused on the identity of the relationship between artist and curator on several occasions. For Arvo Pärt (2006) is the painting installation presented to the public for the first time by Mauro Valsangiacomo (Switzerland, 1950). To a certain extent, this is a portrait of the Estonian musician that the Swiss artist executed by interpreting the iconology of the former’s music. The installation shown by Donato Amstutz (Switzerland-France, 1969) is a reflection on mankind and on the meaning of being male in an ambiguous post-technological society balanced between epoch-making resettlements, roles and existential fragility.  Massimo Vitangeli (Italy, 1950) is presenting a new video entitled Où sommes-nous? (2010). Shot against a soundtrack of Edith Piaf singing Je ne regrette rien (1956) in three different moments of her life, the video tackles the theme of memory, of nostalgia and of the sensual pleasure of remembering in the very act of reconfiguring identity. (alarocca)

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