Picasso comes back to Paris

Link: http://www.museepicassoparis.fr/

subscribe
#361 - from 23 October 2014 to 29 October 2014






Rédacteur en Chef
Rafael Pic


Our next issue
will appear on
October 30 2014


The circulation
of this issue is
56955 copies

advertise lettre


© Musée national Picasso-Paris / Photo Béatrice Hatala.

IN THE AIR

Picasso comes back to Paris

Following five years of works and a last straight line to meet the deadline, including a much commented change of president when Anne Baldassari was fired and replaced by Laurent Le Bon, the musée Picasso will finally reopen on 25 October. It was postponed various times, but the date was too precious to be missed: indeed it is the anniversary of the birth in Malaga, in 1881, of a giant of 20th century art. The exhibit space has been tripled and enriched with an auditorium. But the itinerary is somewhat puzzling. There are very few indications and a choice to combine a chronologic al and themed approach. The first room is the perfect example, with works from the artist?s youth next to the Jeune Peintre, Picasso?s last work, painted in the spring of 1972. The works are hung according to the emotion and the ?pure? aesthetic shock they give, something like what the museum of quai Branly did. But this is at the cost of any pedagogical approach, considered a bit old fashioned? The sheer number of works, a result of the colossal donation in 1979, allows the visitor to follow all the artist?s itinerary, scattering icons throughout the rooms ? the Flûte de Pan, the portraits of Olga and Dora Maar, the Acrobate, the Chèvre, the Massacre en Corée or the Tête de taureau (the famous combination of a bicycle seat and handle bar, which one can easily miss since it hangs high on the wall). Not to mention Picasso?s personal collection: his Cézannes, Renoirs, Matisses and Derains, his African and Oceanian masks, which all enjoy a beautiful display on the last floor.
? Le Musée national Picasso (5, rue de Thorigny, 75003 Paris) will reopen to the public on 25 October 2014. Catalogue Flammarion.

Know more

EXHIBITIONS


Carles Casagemas, Casa de citas, MNAC Barcelona.

In memory of Casagemas

BARCELONA ? He was Picasso?s best friend in Paris. By committing suicide in a dramatic manner during a Parisian dinner party, this tortured and impotent artist (frustrated in his female relations) reached the status of a myth. Picasso was in Spain at the moment of the terrible act, but he left a memorable painting of his dead friend which can be seen in the first room of the musée Picasso, in Paris. What really was the story of artist Casagemas, who died so young (1880-1901)? This is the central question of this long-awaited retrospective. But we will only get a tentative answer as there are but few works of the Catalan artist, among them Maison de rendez-vous which belongs to the museum.
? Carles Casagemas, el artista debajo del mito at the Museo nacional d?arte de Cataluña, from 30 October 2014 to 22 February 2015.

Know more


Pablo Picasso and William Hartmann, observed by Jacqueline. Notre-Dame-de-Vie, 1966, Museo Picasso Málaga.© Roberto Otero, Museo Picasso Málaga.

Portrait of Picasso as a T.V. viewer

MALAGA ? How did Picasso, the great communicator with the Eternal through his art and photography, react when television was invented? When Jacqueline Roque bought one TV set at the beginning of the sixties, Picasso looked at it with interest, and followed in particular the programs on circuses (« La piste aux étoiles »), and on wrestling. According to curator Laurence Madeline, he echoed it in his engravings ? for example in Suite 347 - with angles and characters inspired from T.V. programs or Western movies. And he demonstrated, at more than 80 years old, a curiosity and capacity to renew himself that were unaffected.
? Picasso TV at Museo Picasso in Malaga, from 30 June to 16 November 2014.

Know more


David Douglas Duncan, Picasso making a plate with a fish bone, La Californie, April 1957. Modern digital ink flow print. Donación David Douglas Duncan, 2013. © David Douglas Duncan 2014. © Sucesión Pablo Picasso, VEGAP, Madrid 2014

Duncan's eye

BARCELONA ? Among the photographers who immortalised Picasso, David Douglas Duncan, 98 years old, is the eldest one still alive. After covering the combats in the Pacific and then the Korean War, the encounter in 1956 with Picasso was a radical change for him. Their friendship, marked by the great freedom Picasso allowed him to have, lasted until the death of the latter in 1973. For the 50th anniversary of the Picasso Museum in Barcelona in 2013, Duncan donated 161 photographs. They cover the last years, the ?Jacqueline years » at Mougins: a lot of ceramics and engravings, a peaceful harmony with his children Claude and Paloma (prior to the brutal separation from their mother Françoise Gilot when she published Life with Picasso in 1964), the meals, the paintings, the walks in the garden.
? La Donación Douglas Duncan at the Museo Picasso in Barcelona, from 2 October 2014 to 11 January 2015.

Know more


Alfonso Ponce de León (1906-1936), Fisherman and Young Men, 1936, oil on canvas, 90 x 73 cm. Museo Nacional Centro de Arte Reina Sofía, Madrid.

Picasso's heirs

FLORENCE - He was a continent unto himself, who obviously influenced the art of his time, especially in Spain even though he did not return to his native country after 1934. The exhibition presents works by the master but focuses especially on identifying Picasso traits and influence in the geometric designs of Torres-García, Chillida's sculptures, in Antonio Saura or even in the work of hyperealist artist Antonio López.
? Picasso e la modernità spagnola at Palazzo Strozzi, from 25 September 2014 to 20 January 2015.

Know more

ARTIST OF THE WEEK


André Villers, Cut out / collage, 25 X 38 cm, signed and dated 1 - 10 1990. Courtesy Galerie Intuiti Paris - Brussels

André Villers, a tribute to Picasso

Just like Lucien Clergue, he was a very young photographer Picasso trusted and even gave his very first camera. For twenty years, André Villers (born in 1930) documented Picasso?s daily life in Cannes (at the villa La Californie), then in Mougins, his last residence, and created some truly historic photos. André Villers was undoubtedly influenced by the master?s polymorphism and had also tried to make metamorphoses (sometimes together with Picasso himself) cutting out, repainting and recomposing his own photographs. His most recent collages (essentially from the 1990s), exhibited in a gallery very near the musée Picasso, show the influence of the brilliant Andalusian artist was not dimed by time.
? André Villers at the galerie Intuiti (16, rue des Coutures-Saint-Gervais, 75003 Paris), until 14 November 2014

Know more

BOOKS

Investigations into Picasso

The Cahiers de l?Herne are known for their monographies on the major figures in literature and the arts. This one, dedicated to Picasso, is no exception. Over nearly 400 pages, it has voices of the past intervene such as Simone de Beauvoir, Paul Morand or Maurice Rheims, as well as current specialists (among them Anne Baldassari and Claude Picasso). The slightly iconoclastic approach is obvious in the themes dealt with, which do not intend to cover all of Picasso but of shedding light on certain zones, which at times are obscure: his relationship with Staline, his surrealist theater, his influence in Latin America, his interpretation by Jung. The volume is purposely not illustrated but nevertheless it includes a very original central notebook: it is dedicated to the poems from 1935 to 1938, written on plain unheaded paper, index cards or notebooks. There is still a Picasso to be discovered.
? Picasso, Cahiers de l?Herne, 2014, 358 p., ?39.

Buy that book from Amazon

Picasso behind the mirror

How did Picasso manage the different women he knew, one after another? How did he avoid a military duty and three wars? What about his political commitment? Why did he not become a French citizen? So many questions that demonstrate the human matter in Picasso and his complexity - what actually nourished his myth.
? Les Mystères Picasso, special issue, Beaux Arts, October 2014, 108 p., ?7.90.

IN BRIEF

MONTREAL - The Montreal Biennale, dedicated to contemporary creation, will be held from 22 October 2014 to 4 January 2015.

Know more

PARIS ? The Fondation Louis Vuitton will be opening to the public on 27 October 2014, in a building designed by Frank Gehry and located in the bois de Boulogne, on the outskirts of Paris.

Know more

PARIS ? The Monnaie de Paris will reopen its exhibit space to the public on 25 October 2014 with the exhibition Chocolate Factory, dedicated to Paul McCarthy.

Know more

PARIS - Following the vandalism which Paul McCarthy's work on place Vendôme suffered from, the AICA France (Association interna tionale des critiques d'art) called for a flash mob on site on 24 October at 1 p.m..

Know more

PARIS ? The 41st edition of the modern and contemporary art fair, the FIAC, will be held from 23 to 26 October 2014 at the Grand Palais and in various sites throughout the capital (Jardin des Plantes, Tuileries, etc.)

Know more

PARIS ? The contemporary art fait, YIA, will be held from 23 to 26 October 2014 at the Carreau du Temple, with a program 'outside the walls' as well.

Know more

PARIS ? The Slick contemporary art fair will be held on pont Alexandre III, from 22 to 26 October 2014.

Know more

PARIS - The Outsider Art Fair, dedicated to outsider art, will be held at the hotel Le A, from 23 to 26 October 2014.

Know more

OPENINGS OF THE WEEK


TARKOS

25 October 2014 - Besançon - FRAC Franche-Comté

Tarkos (1963-2004) was a performer and visual poet who contributed to explore the link between art and language

Our selection of new exhibitions



 


Tato zpráva neobsahuje viry ani jiný škodlivý kód -avast! Antivirus je aktivní.


Picasso comes back to Paris

Following five years of works and a last straight line to meet the deadline, including a much commented change of president when Anne Baldassari was fired and replaced by Laurent Le Bon, the musée Picasso will finally reopen on 25 October. It was postponed various times, but the date was too precious to be missed: indeed it is the anniversary of the birth in Malaga, in 1881, of a giant of 20th century art. The exhibit space has been tripled and enriched with an auditorium. But the itinerary is somewhat puzzling. There are very few indications and a choice to combine a chronologic al and themed approach. The first room is the perfect example, with works from the artist?s youth next to the Jeune Peintre, Picasso?s last work, painted in the spring of 1972. The works are hung according to the emotion and the ?pure? aesthetic shock they give, something like what the museum of quai Branly did. But this is at the cost of any pedagogical approach, considered a bit old fashioned? The sheer number of works, a result of the colossal donation in 1979, allows the visitor to follow all the artist?s itinerary, scattering icons throughout the rooms ? the Flûte de Pan, the portraits of Olga and Dora Maar, the Acrobate, the Chèvre, the Massacre en Corée or the Tête de taureau (the famous combination of a bicycle seat and handle bar, which one can easily miss since it hangs high on the wall). Not to mention Picasso?s personal collection: his Cézannes, Renoirs, Matisses and Derains, his African and Oceanian masks, which all enjoy a beautiful display on the last floor.
? Le Musée national Picasso (5, rue de Thorigny, 75003 Paris) will reopen to the public on 25 October 2014. Catalogue Flammarion.

Emile Bernard (1868-1941) Du 17 septembre 2014 au 5 janvier 2015

11.09.14 | par Vilém Stránský [mail] | Catégories: ze sv?ta, pozvánka, ArtBohemia

Lien: http://www.musee-orangerie.fr/pages/page_id20004_u1l2.htm

Emile Bernard (1868-1941)

Du 17 septembre 2014 au 5 janvier 2015

Peintre, graveur, mais aussi critique d'art, écrivain et poète, Emile Bernard est une personnalité majeure dans l'élaboration de l'art moderne. A la fin des années 1880, il inaugure le style cloisonniste, dont on sait l'importance qu'il revêtira chez Gauguin et Van Gogh, dont Bernard fut proche, mais aussi chez les Nabis.

Après la controverse sur l'invention du symbolisme en peinture, qui l'oppose violemment à Gauguin, Bernard s'installe au Caire où il reconsidère la stylisation schématique et la recherche de primitivisme symboliste. La découverte des maîtres anciens l'incitera cependant à renouer avec la tradition.

De retour en France, il publie des témoignages fondamentaux sur Cézanne et des écrits esthétiques remettant en cause les avant-gardes au nom de la tradition picturale. Mais, loin de se définir par un traditionalisme suranné, son art porte toujours la marque d'une personnalité curieuse et tourmentée, à la recherche de l'absolu artistique.

Cette exposition sera la première à présenter la longue carrière de cet artiste protéiforme, dont les mutations successives participent à chaque fois d'une redéfinition de la personnalité et remettent en cause la notion mêm de style.

Commissariat
Marie-Paule Vial, Conservateur en chef du patrimoine, chargée de mission à la direction de l'action culturelle de Marseille
Rodolphe Rapetti, Conservateur général du patrimoine, chargé de mission au Service des Musées de France, Direction Générale du Patrimoine
Fred Leeman, historien de l'art

Exposition organisée par les musées d’Orsay et de l’Orangerie et la Kunsthalle de Brême.
Egalement présentée à Brême, Kunsthalle, du 7 février au 31 mai 2015.

Avec le généreux soutien du groupe hôtelier

Avec le soutien, pour l'apport en peinture, de


Autour de l'exposition

Visites-guidées
> Du 1er octobre au 5 janvier, les lundis, mercredis, jeudis et samedis à 16h00
> Visite en anglais proposée les lundis à 11h00
Se présenter 15 minutes avant le début de la visite
Plein tarif : 6€ / Tarif réduit : 4,50€

Ateliers de dessin pour adultes
> Les samedis 11 et 25 octobre, 8 et 22 novembre, 6 et 27 décembre 2014 à 15h30
Tarif : 7€ 
Réservation : 01 44 50 43 01

Ateliers pour le jeune public (8/11 ans)
> Les mercredis 15 et 29 octobre, 12 et 26 novembre, 10 et 17 décembre à 15h30
Tarif : 7€ 
Réservation : 01 44 50 43 01

Conférences
"Bernard et les maîtres" par Marie-Paule Vial
> Mercredi 19 novembre à 18h30 
"Emile Bernard et Odilon Redon" par Rodolphe Rapetti
> Mercredi 3 décembre à 12h30 
"Emile Bernard : symbolisme et religion" par Fred Leeman
> Mercredi 10 décembre à 18h30 

Entrée gratuite dans la limite des places disponibles
Réservation : 01 44 50 43 01

Lecture
"Emile Bernard : du critique d’art au romancier"
> Vendredi 12 décembre à 19h00 
Emile Bernard est surtout connu pour son oeuvre picturale, mais beaucoup moins pour ses écrits et ses liens avec le cercle littéraire parisien. Il produit pourtant une importante correspondance, des critiques d'art ou encore des romans empreints d'orientalisme. 
C'est à travers des textes interprétés par deux comédiens, que vous découvrirez l'homme de lettres.
Avec les comédiens Yves Carlevaris et Jean-Paul Zennacker

Entrée gratuite dans la limite des places disponibles
Réservation : 01 44 50 43 01

Projections de films documentaires
> Tous les jours pendant la durée de l'exposition 
"Gauguin, à la recherche des paradis perdus" de Dominique Raimbault
"Sur les pas de Cézanne"de Dominique Raimbault

Journées thématiques inter-musées Orsay/Orangerie
> Jeudi 16 octobre, jeudi 13 novembre et jeudi 11 décembre 
Avant la visite de l'exposition consacrée à Emile Bernard au musée de l'Orangerie, cette journée propose un parcours dans les collections du musée d'Orsay pour découvrir l’itinéraire du peintre, depuis son apprentissage parmi l'avant-garde de Pont-Aven, l'invention du symbolisme jusqu’à sa recherche de l'absolu. 
"Emile Bernard et son temps" : 10h00 au musée d'Orsay 
"Emile Bernard et l'héritage Cézannien" : 14h au musée de l'Orangerie

Journée d'étude à l'auditorium du musée d'Orsay
"Emile Bernard (1868-1941), un classique chez les modernes"
> Vendredi 7 novembre de 9h30 à 18h30 
Le moment moderne qui a vu éclore à Pont-Aven le synthétisme en peinture aurait-il constitué un point de non-retour pour Emile Bernard ? Comment comprendre la trajectoire à contre-courant de ce peintre en colère, revendicatif et surdoué ? 

Sous la direction scientifique de Marie-Paule Vial, Rodolphe Rapetti et Fred Leeman, commissaires de l'exposition

Information musée d'Orsay : 01 53 63 04 63
Entrée libre dans la limite des places disponible

Edition
Catalogue de l'exposition 
Coédition musée d'Orsay-Flammarion
240 pages, 39€, parution septembre 2014

Picasso administration : OJO N°26

08/16/14 | by Vilém Stránský [mail] | Categories: osudy, ArtBohemia

Link: http://www.picasso.fr/us/picasso_page_video.php

We begin with an unprecedented journey to the heart of lithography in the company of the grandson of Fernand Mourlot, who initiated Picasso in the art of lithography, and in the presence of the Mourlot printing presses, which continue to run under the name of IDEM thanks to Patrice Forest. Next, we delve deep into a painting from Picasso's blue period, La vie, in a study by Reyes Jiménez from the Museu Picasso in Barcelona. And, last but not least, a few recent items of Picasso-related news.

Ruští agenti ukradli Gutenbergovu bibli, první tišt?nou knihu sv?ta

08. 06. 14 | by Vilém Stránský [mail] | Kategorie: osudy, ArtBohemia

Link: http://zpravy.idnes.cz/agenti-fsb-ukradli-gutenbergovu-bibl-dsd-/zahranicni.aspx?c=A140606_201214_zahranicni_mlb

Ruští agenti ukradli Gutenbergovu bibli, první tišt?nou knihu sv?ta

7. ?ervna 2014 8:18
Trojice agent? ruské tajné služby FSB ukradla z archivu moskevské univerzity bibli, která pochází p?ímo z dílny Johannese Gutenberga. Unikátní knihu z 15. století se poté snažili prodat sb?ratel?m. Od soudu ve ?tvrtek odešli s nepodmín?nými tresty.
První Gutenbergova bible vyšla v roce 1454. Má se za to, že celkem v díln? na

První Gutenbergova bible vyšla v roce 1454. Má se za to, že celkem v díln? na dvo?e Humbrecht vytiskli asi 180 exemplá??.| foto: Kevin Eng, CC-BY-SA, Creative Commons

 

Sergej Vediš?ev, Michail Lepkov a Viktor Puška v univerzitním areálu zodpovídali za bezpe?nost. Velitelé tajné služby FSB však záhy zjistilo, že d?ležitý úkol patrn? nesv??ili t?m pravým. Z depozitá?e Lomonosovy univerzity totiž nedávno zmizela dvousvazková bible obrovské hodnoty.

Jedna z prvních tišt?ných knih na sv?t?, kterou v polovin? patnáctého století v N?mecku vytvo?il samotný vynálezce knihtisku Johannes Gutenberg, by se podle odborník? dala prodat za 15 milion? eur, v p?epo?tu asi 412 milion? korun. Pokud by se však bible prodávala v aukci, její cena by mohla vystoupat ješt? mnohem výš.

"Tito pánové nebyli práv? odborníci naum?ní," rýpla si do trojice zlod?j? mluv?í moskevského soudu Irina žirnovová. Agenti FSB totiž vzácné knihy nabízeli za pouhých 40 milion? rubl?, tedy zhruba 23 milion? korun.

Agenti z bible vy?ízli kus listu

"Jeden z nich se k té vzácné knize zkrátka dostal a trojici poté napadlo, že by ji mohli zpen?žit," vylí?ila žirnovová pohnutky, kterézam?stnanceFSB ke krádeži vedly. O celé kauze informoval deník Kommersant.

Mimo?ádn? výhodnou nabídku od Vediš?eva dostalsb?ratelMark Treveljan. Nízká cena jej však zasko?ila a necht?l zpo?átku v?bec v??it, že jde skute?n? o originální výtisk z patnáctého století. Aby jej p?esv?d?ili, vy?ízli agenti z bible ?ást jednoho listu. Než se kniha vrátí do univerzitního depozitá?e, musí se jí chopit restauráto?i.

Plukovník Vediš?ev, který celou akci naplánoval, stráví podle ?tvrte?ního rozsudku t?i a p?l roku v trestanecké kolonii. Jeho komplic, major Michail Lepkov, dostal rok a dva m?síce. Kapitán Viktor Puška vyvázl s ro?ním trestem, soudní sí? však mohl rovnou opustit. Všichni t?i zlod?ji už totiž strávili rok ve vazebních celách.

 

Výstava Ne?ekané d?dictví je p?ehlídkou modernistických skvost?

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: pozvánka, z domova, ArtBohemia

Link: http://www.lidovky.cz/vystava-necekane-dedictvi-je-prehlidkou-modernistickych-skvostu-p9u-/kultura.aspx?c=A140529_123619_ln_kultura_hep

Toyen: Bramborové divadlo, 1941. Z výstavy Ne?ekané d?dictví | na serveru Lidovky.cz | aktuální zprávy
Unikátní soubor um?leckých d?l p?edevším tv?rc? ?eské moderny získala p?ed ?asem Národní galerie v Praze z odkazu léka?ky Aleny žižkové Lind. Kolekci d?l od autor?, mezi nimiž byli surrealisté Toyen a Jind?ich Štyrský, Josef Šíma, Jan Zrzavý, Rudolf Kremli?ka, František Tichý nebo František Muzika, ode dneška galerie p?edstavuje v Konírn? paláce Kinských na Starom?stském nám?stí.

Výstava se jmenuje Ne?ekané d?dictví, protože tak v roce 2010 NG více než 20 um?leckých d?l významných autor? moderny získala. Soubor pochází ze sbírky Aleny žižkové Lind (1926 až 2009), která jej p?vodn? cht?la odkázat anonymn?, ale na poradu p?átel se v poslední v?li k vlastnictví p?ihlásila. Dv? z d?l, surrealistická plátna malí?ky ToyenBramborové divadloz roku 1941 aNa zámku La Costez roku 1943, už NG p?ed dv?maletyvystavila ve Sbírce moderního a sou?asného um?ní ve Veletržním paláci.

Galerie oce?uje ušlechtilé mecenášské gesto

"O jejím úmyslu jsme se dozv?d?li až po její smrti p?i poz?stalostním ?ízení. Ušlechtilost takového po?inu nevídáme ?asto, proto se Národnígalerierozhodla celou sbírku vystavit nejen pro její ojedin?lost, ale také z respektu k mecenášskému gestu," ?íká kurátorka výstavy Zuzana Novotná ze Sbírky grafiky a kresby.

U n?kterých d?l z?stala poznámka o zajímavé provenienci nebo o jejich vystavení. Nap?íklad Preislerova kresba pocházela ze sbírky psychoanalytika a surrealisty Bohuslava Brouka, Kremli?kova kresba byla zmajetkubratra Václava Špály Rudolfa.

Veletržní palác vystavuje Šímovy grafické listy

NG také dnes zahajuje novou výstavu ve Veletržním paláci, která ukáže soubor p?ípravných kreseb a výsledných grafických list? Josefa Šímy k básnické sbírce Pierra Jeana Jouva Ztracený ráj. Šíma se ve svých 30 letech usadil ve Francii a po celý život m?l úzký vztah k poezii a p?átelil se s básníky. Tato p?átelství se v ?ad? p?ípad? prom?nila v tv?r?í spolupráci.

Ur?ující pro n?j bylo setkání s mladými básníky Rogerem Gilbertem Lecomtem a René Daumalem, s nimiž založil skupinu Vysoká hra. Pozd?ji v Šímov? život? sehráli d?ležitou úlohu další auto?i, mezi n?ž pat?il i práv? Francouz Pierre Jean Jouve. Ve 20. a 30. letech ilustroval Šíma n?kolik jeho knih a jejich spolupráce vyvrcholila v roce 1938 Šímovými kresbami k Jouvovým sbírkám Ztracený ráj a Kyrie.

?TK,Lidovky.cz

Zdroj:http://www.lidovky.cz/vystava-necekane-dedictvi-je-prehlidkou-modernistickych-skvostu-p9u-/kultura.aspx?c=A140529_123619_ln_kultura_hep

žeb?í?ek nejdráže prodaných obraz? na aukcích v ?R

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: z domova, aukce, ArtBohemia

Link: http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

žeb?í?ek nejdráže prodaných obraz? na aukcích v ?R

(ceny v korunách bez auk?ní p?irážky):
1. František Kupka  - Tvar modré  - 55,75 (2012)
2. František Kupka - Élévation (Výšky) - IV 22,1 (2007)
3. František Kupka - Zhroucení vertikál - 22 (2009)
4. František Kupka - Úsm?v O - 20,25 (2012)
5. Toyen - Spící - 20 2009
6. Oskar Kokoschka - London, Chelsea Reach - 19,5 (2008)
7. Emil Filla - Malí? - 17,5 (2013)
8. Emil Filla - Zátiší s lahví Cherry - 16,25 (2010)
9. Emil Filla - Hlava muže v cylindru - 16 (2012)
10. Bohumil Kubišta - Zátiší - 15,7 (2013)
11. Emil Filla - Ležící žena - 15,2 (2012)
12. František Kupka - L'Apothéose d'Héléne (Zbožšt?ní Heleny) - 15 (2012)
13. Josef Šíma - Léda s labutí - 14,6 (2008)
14. Emil Filla - Hlava muže s dýmkou - 14 (2014)
15. František Kupka - Abstraktní kompozice - 13,4 (2007)

Zdroj:http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

P?ehled deseti nejdražších obraz? Emila Filly prodaných na domácích aukcích

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: z domova, aukce, ArtBohemia

Link: http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

P?ehled deseti nejdražších obraz? Emila Filly prodaných na domácích aukcích

(ceny v korunách bez auk?ní p?irážky):

1. Malí? (r. 1921) 17,5 (2013)
2. Zátiší s lahví Cherry (r. 1914) 16,25 (2010)
3. Hlava muže v cylindru (r. 1914) 16 (2012)
4. Ležící žena (r. 1932) 15,2 (2012)
5. Hlava muže s dýmkou (r. 1915) 14 (2014)
6. Zátiší s dýmkou (r. 1934) 12 (2011)
7. Sklenice a noviny (r. 1914) 11,2 (2009)
8. Dívka s mandolínou (r. 1929) 11 (2008)
9. Ut?šitel (r. 1911) 10,8 (2011)
10. Zátiší s mandolínou (r. 1933) 9,1 (2009)

Zdroj:http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

Kupk?v R?žový klobouk se v Berlín? prodal za 9,6 milionu korun Zdroj: http://www.lidovky.cz/kupkuv-ruzovy-klobouk-se-v-berline-prodal-za-9-6-milionu-korun-pt9-/kultura.aspx?c=A140530_095119_ln_kultura_hep#utm_source=email&utm_medium=text&utm_campaign=lido

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: ze sv?ta, osudy, aukce, ArtBohemia

Link: http://www.lidovky.cz/kupkuv-ruzovy-klobouk-se-v-berline-prodal-za-9-6-milionu-korun-pt9-/kultura.aspx?c=A140530_095119_ln_kultura_hep#utm_source=email&utm_medium=text&utm_campaign=lidovky.directmail

František Kupka - R?žový klobouk | na serveru Lidovky.cz | aktuální zprávyfoto: Reprofoto

Kupk?v R?žový klobouk se v Berlín? prodal za 9,6 milionu korun

30. kv?tna 2014 10:00 | Lidovky.cz
Link


Za dvojnásobek odhadní ceny se v berlínské auk?ní síni Villa Grisebach prodal obraz ?eského malí?e Františka Kupky. Obraz R?žový klobouk z roku 1906 p?išel nového majitele na 350.000 eur (asi 9,6 milionu korun).

Kupkovo rané dílo, které zobrazuje sedící mladou ženu s r?žovým kloboukem hledící sm?rem k pozorovateli, bylo p?vodn? odhadnuto na 150.000 eur, licitátor dražbu zahájil na ?ástce 70.000. P?t zájemc? rychle dorovnalo na odhadnícenu, která se postupn? vyšplhala až na kone?ných 280.000 eur. Zbylých 70.000 ?iní provizeauk?ní sín?. Informoval o tom um?lecký server ART+.

František Kupka, kterého odborníci ozna?ují za prvního abstraktního malí?e, se narodil 23. zá?í 1871 v Opo?n?, zem?el v Puteaux u Pa?íže 24. ?ervna 1957. Jeho díla jsou sou?ástí sv?tových sbírek a mezi sb?rateli jsou velmi cen?ná.

?T?TE TAKÉ

Kupk?v obraz Tvar modré se v roce 2012 v Praze prodal za 55,75 milionu korun, a stal se tak nejdráže prodaným obrazem v ?eskýchaukcích. Díla Františka Kupky drží také druhé, t?etí a ?tvrté místo, až za ním následují um?lci jako Toyen, Emil Filla nebo Bohumil Kubišta. Kupkovi se však da?í i na zahrani?ních trzích. V ?ervnu 2013 se jeho Studie na ?erveném pozadí prodala v auk?ní síni Sotheby's za 2,26 milionu eur (62 milion? korun).

Lidovky.cz,?TK

Zdroj:http://www.lidovky.cz/kupkuv-ruzovy-klobouk-se-v-berline-prodal-za-9-6-milionu-korun-pt9-/kultura.aspx?c=A140530_095119_ln_kultura_hep#utm_source=email&utm_medium=text&utm_campaign=lidovky.directmail

THE INVESTMENT AND ASSET POTENTIAL OF ART© JIANPING MEI AND MICHAEL MOSES CO-FOUNDERS OF BEAUTIFUL ASSET ADVISORS®LLC

05/10/14 | by Vilém Stránský [mail] | Categories: aukce, ArtBohemia

Link: http://www.artasanasset.com/main/artinvesting.php

HE INVESTMENT AND ASSET POTENTIAL OF ART© JIANPING MEI AND MICHAEL MOSES CO-FOUNDERS OF BEAUTIFUL ASSET ADVISORS®LLC The Mei Moses® family of fine art indexes is used on this website to study the historical performance of art as an investment and asset class based on auction transactions. The indexes have been developed from a proprietary database, collected over the past 20 years, of over 30,000 purchase and sale price pairs for objects that have sold at public auction more than once. To measure relative performance these indexes are compared to equities, government bonds gold, cash, real estate etc. In particular return, risk and correlation among the assets over many time periods and holding periods are analyzed in detail. The beauty and uniqueness of art as an asset class is that it gives individuals the opportunity of gaining pleasure and excitement from its ownership in three distinct ways. The first beauty of art is the obvious one of emotional appeal obtained from the visual image of the object. The second beauty of art is the enjoyment most individuals obtain from the process of its acquisition. This includes, but is not limited to, knowledge acquisition, socialization with like minded collectors and experts, excitement of the chase, meeting its maker, etc. The third beauty of art is its longevity and financial performance. Over the last three millennia there has never been a time when art was not important and appreciated. In general arts relative performance is based on the historical time period under consideration. For example over the last fifty years the Mei MosesR world all art index and the S&P 500 total return stock index have had approximately equal compound annual returns. The art index has underperformed the equity index for the last 25 years. Over the last five and ten year periods art has significantly outperformed equities. For many of these time periods art also has equivalent volatility however it has much lower liquidity than most other financial assets. However art has low correlation with other assets and thus may play a role in portfolio diversification. We have created Beautiful Asset Advisors® LLC to concentrate on arts third beauty. We ignore the first two not since we feel that they are unimportant but that there are others more qualified to address these issues than ourselves. On this website, artasanasset.com, we will address the topics that might be of interest to neophytes and sophisticates alike about the financial characteristics of the art asset class relative to other assets. Thus this site deals only with financial performance and all derivatives based on these facts rather than individual or summary information on all art auction market transactions. Since we are comparing arts results to those of financial products we must insure that the data we use is transparent, unbiased and based on same object transactions. We thus base all our findings on a proprietary database of objects that have sold more than once on a world wide basis at public auction. This database now comprises over 30,000 repeat sale pairs. We currently build our database from the analysis of seven individual collecting categories: old master and 19th century, impressionist and modern, American before 1950, post war and contemporary, Latin American, British painting after 1950 and traditional Chinese works of art. This information allows for the creation of annual indexes for each of these collecting categories as well as the world all art index. The data also allows us to develop insights into the factors that drive returns for individual or groups of objects. We also use the indexes to undertake asset allocation studies that include art as well as making available an on line "mark to market" art valuation service. In 2009 we introduced a new feature that will allow for the generation of graphs that plot true return versus purchase date for all the pairs in our database for the most important and highly traded artists. All this information is provided as a service for individuals and institutions that are interested in participating in the art market. It should in no way be construed as a recommendation of art as an investment. Investment decisions should be based on the risk tolerance and planning horizon of the investor. Please contact your investment adviser for assistance. Art market participants must understand that past performance is also not a guarantee or predictor of future results. It should also be understood that since art trades infrequently and each piece is unique there is no guarantee that individual portfolios of art objects will yield that same returns as the indexes presented on this website.

Important Ceramics by Pablo Picasso

05/03/14 | by Vilém Stránský [mail] | Categories: ze sv?ta, aukce, ArtBohemia

Link: http://www.sothebys.com/en/auctions/2014/important-ceramics-by-pablo-picasso-l14162.html

Picasso in earth

LONDON ? Picasso discovered a great passion for ceramics in the later part of his life, when he left Paris to go live definitely in Southern France, at the end of World War II. He cultivated this passion until his death. It was also his interest in ceramics that helped him met his last companion, Jacqueline Roque. She worked at her cousins?, the Ramié family, the owners in Vallauris of what would become the famous Madoura house. Owls, doves, goats, picadors and bullfights were his favorite subjects. A multiple work by Picasso can cost as much as a single work of art by other artists. A pitcher Visage aux yeux rieurs, made in 1969 and produced in 350 copies, is estimated at ?12,000. With a budget of approximately ?1000 ?, a buyer will have to make do with an exhibition poster.
? Important Ceramics by Picasso at Sotheby?s on 7 May 2014.

LONDON - Renowned expert in Pablo Picasso’s ceramic works Harald Theil gave his insight into the significance of this important body of work, which will be the subject of a lecture atSotheby’s London to co-incide with the sale Important Ceramics by Pablo Picasso on 7 May.


A photo taken on October 22, 1961 shows Spanish artist Pablo Picasso painting a potery at the Madoura studio in Vallauris. ANDRE VILLERS/AFP/Getty Images.


What drew Picasso to the
Madoura Pottery in Southern France and does his work from there coincide with a particular period of his personal life?

Ceramic materials and techniques offered Picasso a new expressive potential and the daily life of the artisan attracted him greatly. In ceramics he discovered an authentic medium with a long tradition, specific techniques, like the work with slips and glazes, the transformations of colour and materials by the firing process and specific utilitarian forms which he liked to deconstruct and reassemble to create animal or human shapes. It coincides with Picasso’s move to the Mediterranean with his young mistress Françoise Gilot and their son Claude, born in May 1947, as well as his desire for a renewal of life and art after the dark war years he spent in Paris. This is reflected in his ceramics through a lightening of the colours, by the using and transforming of vessel bodies with the inherent symbolism of fertility and rebirth as well as by narrative scenes with themes inspired by Greek mythology.

How do Picasso’s ceramics tie into his work in other media?

There are connections concerning his working methods in series and variations, concerning his approach to formal design such as the use of preparatory drawings as well as in technical, thematic and conceptual aspects. There are connections to be made with his work of the Cubist and Surrealistic period as for example the interrelation of volume and painting, the use of polychromy in sculpture, the transformation of found objects into works of art or sculptural assemblages.

Picasso, however, respected the inherent properties of the ceramic medium using genuine ceramic techniques and possibilities, such as incisions, engraved or relief designs or specific adapted painting methods. He was working with plaster dies and molds in order to create multiple ceramic art works in series. He then transferred these experiences in other media. Thus there are many connections between Picasso’s ceramics and etchings, linocuts as well as with his metalwork and sculptures he made in the 1950s and 1960s in parallel, or after, his main ceramic experiences.


A selection of the ceramics in the Important Ceramics by Pablo Picasso sale. Estimates range from £1,500 to £80,000.

Are there any particular motifs or themes that Picasso uses in his ceramics and how do they develop over time?

Picasso ceramics are reflecting the thematic reorientation his art underwent since the paintingLa joie de Vivre of November 1946 in Antibes. Arcadian and Dionysian themes such as fauns, centaurs, nymphs, goats, bulls, birds, woman vases mostly representing Françoise Gilot and the fish motif as well as still lifes are predominant in the beginning of his ceramic work. In the 1950s and 1960s his preferred themes are his second wife Jaqueline, owls, jesters, masks, bullfights and many other narrative scenes corresponding to Picasso’s iconography in other medias.

Is there any particular work in this sale that has a personal appeal for you?

My preferred work is the Chouette, the owl, a shape designed by Picasso in a series of sketches in 1947 of which four differently painted versions are in this sale (lots 223352353 and 354) and which he used for representing the head of Jaqueline as well (lot 221). The ceramic owl’s body is shaped by a vase assembled in an oblique way standing on a vase neck representing the feet and a second vase neck signifies the head. Picasso owned an owl after 1946, which he found in his studio one night and identified with because of the piercing glance corresponding with his own famous eyes.

Petra Kwan is a specialist in the the Old Master, Modern & Contemporary Prints department, Sotheby’s London.

Harald Theil will be giving a lecture on Picasso’s ceramics at 2pm on 4 May. To attend please email: amy.bubb@sothebys.com

Important Ceramics by Pablo Picasso
London, 7 May 2014
+44 (0)207 293 6416

TAGS: PRINTSAUCTIONSARTISTLONDON

Pages: 1 2 3 4 5 6 7 8 9 10 11 ... 58 >>

M?JTE DOBROU NÁLADU. DOBRÁ NÁLADA SICE VAŠE PROBLÉMY NEVY?EŠÍ, ALE NAŠTVE TOLIK LIDÍ KOLEM, žE STOJÍ ZA TO SI JI UžÍT... (Jan Werich)
?íjen 2014
Po Út St ?t So Ne
 << <   > >>
    1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 31    

Hledání

powered by b2evolution free blog software