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Tarsila do Amaral (Capivari, Brasil, 1886 - Sao Paulo, 1973)
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Beschreibung
Tarsila do Amaral (Capivari, Brazil, 1886 - Sao Paulo, 1973)
Pencil drawing on paper. 17 x 11,8 cm.
Martín Cererê catalogue, page 72 nº 11. Catalogue raisonné: D1398.
Tarsila do Amaral was the most important representative of modernism in Brazil.
In February 2019, the MoMA in New York acquired the painting "A Lúa" for its collection. In the presentation of the painter, they described the artist as a "foundational figure for modern art in Brazil and a central protagonist in the transatlantic and cultural exchanges that informed this movement." A few months earlier, in the spring of 2018, MoMA, in collaboration with the Art Institute of Chicago, held the first monographic exhibition of the Brazilian artist in the United States, "Tarsila do Amaral: Inventing Modern Art in Brazil". In their website, they describe both the artist and the exhibition as follows:
"“I want to be the painter of my country,” wrote Tarsila do Amaral (1886 - 1973) in 1923. Born at the end of the 19th century to a family of coffee plantation owners in São Paulo, Tarsila―as she is affectionately known in Brazil―studied piano, sculpture, and drawing before leaving for Paris in 1920 to attend the Académie Julian, the famous art school that drew many international students. During subsequent sojourns in the French capital, she studied with André Lhote, Albert Gleizes, and Fernand Léger, fulfilling what she called her "military service in Cubism," ultimately arriving at her signature style of sensuous, vibrant landscapes and everyday scenes. The exhibition focuses on her pivotal production from the 1920s, when she navigated the art worlds of both São Paulo and Paris, and charts her involvement with an increasingly international artistic community, as well as her critical role in the emergence of modernism in Brazil. In 1928, she painted Abaporu for her husband, the poet Oswalde de Andrade, depicting an elongated, isolated figure with a blooming cactus. This landmark painting inspired the Manifesto of Anthropophagy, and became the banner for a transformative artistic movement, which imagined a specifically Brazilian culture arising from the symbolic digestion—or artistic “cannibalism”—of outside influences.
Though she is widely celebrated in her native country, this is the first exhibition in the United States devoted exclusively to Tarsila’s groundbreaking art. Featuring over 100 works, including paintings, drawings, sketchbooks, photographs, and historical documents drawn from collections across Latin America, Europe, and the US, Tarsila do Amaral: Inventing Modern Art in Brazil is a rare opportunity to explore the work of this daring modernist."
Bibliographic reference:
- The Museum of Modern Art (2018, February 11 - June 03). "Tarsila do Amaral: Inventing Modern Art in Brazil". https://www.moma.org/calendar/exhibitions/3871
Pencil drawing on paper. 17 x 11,8 cm.
Martín Cererê catalogue, page 72 nº 11. Catalogue raisonné: D1398.
Tarsila do Amaral was the most important representative of modernism in Brazil.
In February 2019, the MoMA in New York acquired the painting "A Lúa" for its collection. In the presentation of the painter, they described the artist as a "foundational figure for modern art in Brazil and a central protagonist in the transatlantic and cultural exchanges that informed this movement." A few months earlier, in the spring of 2018, MoMA, in collaboration with the Art Institute of Chicago, held the first monographic exhibition of the Brazilian artist in the United States, "Tarsila do Amaral: Inventing Modern Art in Brazil". In their website, they describe both the artist and the exhibition as follows:
"“I want to be the painter of my country,” wrote Tarsila do Amaral (1886 - 1973) in 1923. Born at the end of the 19th century to a family of coffee plantation owners in São Paulo, Tarsila―as she is affectionately known in Brazil―studied piano, sculpture, and drawing before leaving for Paris in 1920 to attend the Académie Julian, the famous art school that drew many international students. During subsequent sojourns in the French capital, she studied with André Lhote, Albert Gleizes, and Fernand Léger, fulfilling what she called her "military service in Cubism," ultimately arriving at her signature style of sensuous, vibrant landscapes and everyday scenes. The exhibition focuses on her pivotal production from the 1920s, when she navigated the art worlds of both São Paulo and Paris, and charts her involvement with an increasingly international artistic community, as well as her critical role in the emergence of modernism in Brazil. In 1928, she painted Abaporu for her husband, the poet Oswalde de Andrade, depicting an elongated, isolated figure with a blooming cactus. This landmark painting inspired the Manifesto of Anthropophagy, and became the banner for a transformative artistic movement, which imagined a specifically Brazilian culture arising from the symbolic digestion—or artistic “cannibalism”—of outside influences.
Though she is widely celebrated in her native country, this is the first exhibition in the United States devoted exclusively to Tarsila’s groundbreaking art. Featuring over 100 works, including paintings, drawings, sketchbooks, photographs, and historical documents drawn from collections across Latin America, Europe, and the US, Tarsila do Amaral: Inventing Modern Art in Brazil is a rare opportunity to explore the work of this daring modernist."
Bibliographic reference:
- The Museum of Modern Art (2018, February 11 - June 03). "Tarsila do Amaral: Inventing Modern Art in Brazil". https://www.moma.org/calendar/exhibitions/3871
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Tarsila do Amaral (Capivari, Brazil, 1886 - Sao Paulo, 1973)
Pencil drawing on paper. 17 x 11,8 cm.
Martín Cererê catalogue, page 72 nº 11. Catalogue raisonné: D1398.
Tarsila do Amaral was the most important representative of modernism in Brazil.
In February 2019, the MoMA in New York acquired the painting "A Lúa" for its collection. In the presentation of the painter, they described the artist as a "foundational figure for modern art in Brazil and a central protagonist in the transatlantic and cultural exchanges that informed this movement." A few months earlier, in the spring of 2018, MoMA, in collaboration with the Art Institute of Chicago, held the first monographic exhibition of the Brazilian artist in the United States, "Tarsila do Amaral: Inventing Modern Art in Brazil". In their website, they describe both the artist and the exhibition as follows:
"“I want to be the painter of my country,” wrote Tarsila do Amaral (1886 - 1973) in 1923. Born at the end of the 19th century to a family of coffee plantation owners in São Paulo, Tarsila―as she is affectionately known in Brazil―studied piano, sculpture, and drawing before leaving for Paris in 1920 to attend the Académie Julian, the famous art school that drew many international students. During subsequent sojourns in the French capital, she studied with André Lhote, Albert Gleizes, and Fernand Léger, fulfilling what she called her "military service in Cubism," ultimately arriving at her signature style of sensuous, vibrant landscapes and everyday scenes. The exhibition focuses on her pivotal production from the 1920s, when she navigated the art worlds of both São Paulo and Paris, and charts her involvement with an increasingly international artistic community, as well as her critical role in the emergence of modernism in Brazil. In 1928, she painted Abaporu for her husband, the poet Oswalde de Andrade, depicting an elongated, isolated figure with a blooming cactus. This landmark painting inspired the Manifesto of Anthropophagy, and became the banner for a transformative artistic movement, which imagined a specifically Brazilian culture arising from the symbolic digestion—or artistic “cannibalism”—of outside influences.
Though she is widely celebrated in her native country, this is the first exhibition in the United States devoted exclusively to Tarsila’s groundbreaking art. Featuring over 100 works, including paintings, drawings, sketchbooks, photographs, and historical documents drawn from collections across Latin America, Europe, and the US, Tarsila do Amaral: Inventing Modern Art in Brazil is a rare opportunity to explore the work of this daring modernist."
Bibliographic reference:
- The Museum of Modern Art (2018, February 11 - June 03). "Tarsila do Amaral: Inventing Modern Art in Brazil". https://www.moma.org/calendar/exhibitions/3871
Pencil drawing on paper. 17 x 11,8 cm.
Martín Cererê catalogue, page 72 nº 11. Catalogue raisonné: D1398.
Tarsila do Amaral was the most important representative of modernism in Brazil.
In February 2019, the MoMA in New York acquired the painting "A Lúa" for its collection. In the presentation of the painter, they described the artist as a "foundational figure for modern art in Brazil and a central protagonist in the transatlantic and cultural exchanges that informed this movement." A few months earlier, in the spring of 2018, MoMA, in collaboration with the Art Institute of Chicago, held the first monographic exhibition of the Brazilian artist in the United States, "Tarsila do Amaral: Inventing Modern Art in Brazil". In their website, they describe both the artist and the exhibition as follows:
"“I want to be the painter of my country,” wrote Tarsila do Amaral (1886 - 1973) in 1923. Born at the end of the 19th century to a family of coffee plantation owners in São Paulo, Tarsila―as she is affectionately known in Brazil―studied piano, sculpture, and drawing before leaving for Paris in 1920 to attend the Académie Julian, the famous art school that drew many international students. During subsequent sojourns in the French capital, she studied with André Lhote, Albert Gleizes, and Fernand Léger, fulfilling what she called her "military service in Cubism," ultimately arriving at her signature style of sensuous, vibrant landscapes and everyday scenes. The exhibition focuses on her pivotal production from the 1920s, when she navigated the art worlds of both São Paulo and Paris, and charts her involvement with an increasingly international artistic community, as well as her critical role in the emergence of modernism in Brazil. In 1928, she painted Abaporu for her husband, the poet Oswalde de Andrade, depicting an elongated, isolated figure with a blooming cactus. This landmark painting inspired the Manifesto of Anthropophagy, and became the banner for a transformative artistic movement, which imagined a specifically Brazilian culture arising from the symbolic digestion—or artistic “cannibalism”—of outside influences.
Though she is widely celebrated in her native country, this is the first exhibition in the United States devoted exclusively to Tarsila’s groundbreaking art. Featuring over 100 works, including paintings, drawings, sketchbooks, photographs, and historical documents drawn from collections across Latin America, Europe, and the US, Tarsila do Amaral: Inventing Modern Art in Brazil is a rare opportunity to explore the work of this daring modernist."
Bibliographic reference:
- The Museum of Modern Art (2018, February 11 - June 03). "Tarsila do Amaral: Inventing Modern Art in Brazil". https://www.moma.org/calendar/exhibitions/3871
The Roaring Twenties
Auktionsdatum
Lose: 185
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
Generelle Versandinformationen vom Auktionshaus verfügbar
The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Wichtige Informationen
Aufgeld / Premium: 22 %
Live: 3 %
jeweils zusätzlich USt. / both plus VAT: 21 %
20th Century art auction, starting with great selection of Spanish and foreing illustrators from years 1900 - 1950, School of Paris, Mexican artists and Art Nouveau and Art Déco works of art. The main purpose of this auction is to honor the Spanish artist, settled in the United States, Eduardo García Benito (Valladolid, 1881 - 1981), famous for his covers in the American magazine "Vogue"; as well as to recall a very well-known artistic period: The Roaring Twenties.
AGB
CONDITIONS OF THE AUCTION:
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From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
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XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.
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