图片文件尺寸 : 3660 x 1892px
“罗马学校向女王赠送珠宝的古典场景”-Roman School
Classical Scene With A Queen Being Offered Jewelry--Roman School
图片文件尺寸 : 3660 x 1892px
“罗马学校向女王赠送珠宝的古典场景”-Roman School
Classical Scene With A Queen Being Offered Jewelry--Roman School
图片文件尺寸 : 3048 x 2159px
亚历山大·玛丽·科林《年轻的印加女性被求婚》-Alexandre Marie Colin
Young Inca Woman Being Offered for Marriage--Alexandre Marie Colin (法国, 1798-1875)
图片文件尺寸 : 3558 x 2629px
路易·德·博洛涅在朱庇特雕像前献祭-Louis de Boullogne
Sacrifice Offered before a Statue of Jupiter--Louis de Boullogne (法国, 1654-1733)
图片文件尺寸 : 2520 x 2759px
朱塞佩·帕萨里向红衣主教阿尔巴尼提供了蒂亚拉-Giuseppe Passeri
Cardinal Albani is offered the Tiara--Giuseppe Passeri (意大利, 1654 – 1714)
图片文件尺寸 : 3044 x 2565px
“古代历史的场景雅克·路易·戴维为残疾人提供的奖杯-Jacques Louis David
Scene from Ancient History; Cup Offered to an Invalid--Jacques Louis David (法国, 1748 - 1825)
图片文件尺寸 : 2907 x 3849px
“公主给了士兵一杯酒。”玛格丽特·埃文斯·普莱斯-Margaret Evans Price
The princess offered the soldier a goblet of wine.--Margaret Evans Price (美国, 1888 – 1973)
图片文件尺寸 : 3604 x 2782px
Gabriel de Saint Aubin在晚会上提供的戏剧表演-Gabriel de Saint-Aubin
Theatrical Divertissement Offered at a Gala Evening Party--Gabriel de Saint-Aubin (法国, 1724-1780)
图片文件尺寸 : 3636 x 1569px
乔治·瓦萨里(Giorgio Vasari)为土星提供的地球上的第一颗果实-Giorgio Vasari
The First Fruits of the Earth Offered to Saturn--Giorgio Vasari (意大利, 1511-1574)
图片文件尺寸 : 1934 x 2650px
“关注美国国立卫生研究院职业医疗服务雇员援助计划提供的项目-the Employee Assistance Program of the Occupational Medical Service by National Institutes of Health
Watch for programs to be offered--National Institutes of Health (美国, 1887-)
图片文件尺寸 : 3200 x 2556px
“天使拉斐尔拒绝了乔瓦尼·比利维蒂工作室托比亚斯提供的礼物-Tobias by Studio oOf Giovanni Biliverti
The angel Raphael refusing the gifts offered--Studio oOf Giovanni Biliverti (意大利, 1585-1644)
图片文件尺寸 : 3587 x 1733px
乔瓦尼·巴蒂斯塔·蒂埃波罗为红衣主教游行提供的城市钥匙-a Riderless Horse by Giovanni Battista Tiepolo
Keys of a City Offered to a Procession of Cardinals Headed--Giovanni Battista Tiepolo (意大利, 1696-1770)
图片文件尺寸 : 6164 x 4566px
《戴安娜献上酒神巴克斯的葡萄酒和水果》和亨德里克·范巴伦的《视网膜》-Bacchus and his Retinue by Hendrik van Balen
Diana Offered Wine and Fruit--Hendrik van Balen (Flemish, 1575-1632)
Hans Hartung,当代艺术I-
Hans Hartung * - Zeitgenössische Kunst I-
(Leipzig 1904–1989 Antibes)
T 1964 - E 40, 1964, signed, dated Hartung 64, titled and inscribed and with directional arrow on the stretcher, acrylic on canvas, 81 x 130 cm, framed
This work is registered at the Foundation Hans Hartung and Anna-Eva Bergman, Antibes, and will be included in the forthcoming Catalogue Raisonné being prepared by the Foundation Hartung Bergman, Antibes (confirmation via email 3. October 2022).
Provenance:
Galerie Kallenbach, Munich
Private collection, North Rhine-Westphalia
Ketterer Kunst, Munich, 18 June 2021, lot 302 - acquired there by the present owner
Hans Hartung\'s entire oeuvre is characterised by abstract, non-objective painting. This interplay of light and shadow, structure, texture and airiness would become the formative elements of his later works. The non-figurative painting T 1964 - E 40 offered here also belongs to his catalogue of work. The canvas is primed in yellow, the upper part of the painting is dipped in a rich black. Above this is a layer of dark blue paint splashes with white accents, which the artist has worked on with a steel brush and scraper. A particular focus of the work is the complementary contrast of blue and yellow as well as the contrast between surface and stroke. The pictorial space is composed of light, shadow and their contrast.
The multitude of brushstrokes and scratches, the result of the painter\'s activity on the canvas, represent Hartung\'s style of the 1960s. The compositional scheme of the work offered here is reminiscent of the depiction of fireworks. The rockets explode in the night sky and colour it a sulphurous yellow.
“The first and most important thing is to remain free, free in each line you undertake, in your ideas and in your political action, in your moral conduct. The artist especially must remain free from all outer restraints.”
Hans Hartung
Alex Katz,当代艺术I-
Alex Katz - Zeitgenössische Kunst I-
(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed
This work is registered in the Alex Katz archive.
Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner
In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)
His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).
Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)
托姆布雷-
Cy Twombly * - Zeitgenössische Kunst I-
(Lexington, Virginia 1928–2011 Rome)
Untitled, 1963/1964, signed Cy Twombly, colored pencil, wax crayon on paper, 86 x 67 cm, framed
Provenance:
Galleria La Tartaruga, Rome
Galerie Karsten Greve, Cologne
Private Collection, 德国y
Kunsthaus Lempertz, 3 December 2016, lot 450 - acquired there by the present owner
Literature:
Nicola Del Roscio, Cy Twombly, drawings, catalogue raisonné, Gagosian Gallery, New York (Ed.), Munich 2011, vol. 4, no. 20
Cy Twombly occupies a unique position among US artists. Twombly lived and worked in Italy, far from the 美国 art world, and felt free to experiment. In Rome, Twombly refined his distinctive artistic language. Twombly\'s visual language is informed by classical literature, ancient history, poetry and mythology, as well as his own life experience. Since the 1950s, Twombly\'s drawings have been dominated by rhythmically repeated line progressions, swirls, dense tangles and isolated numbers. Pencil, coloured pens and ballpoint pens enabled Twombly to make this \'scriptural\' drawing, which ultimately includes the signature of the artist himself. On the white of the paper, the pictorial elements provoke by appearing as scribbles, appearing as if randomly distributed on the surface.
The untitled work offered here is a vivid example of Twombly\'s unique pictorial language. The pictorial elements merge into an abstract composition that is both delicate and dynamic. The work was created in Italy between 1963-64. Twombly lived in a 17th-century palazzo on Via di Monserrato in Rome at the time the work was created. Untitled is emblematic of the groundbreaking work Twombly produced in the 1960s, widely regarded as a critical and highly fruitful period in his long and illustrious career.
“Paint is something that I use with my hands and do all those tactile things. I really don’t like oil because you can’t get back into it, or you make a mess. It’s not my favourite thing... pencil is more my medium than wet paint.”
Cy Twombly