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0235 AUTOUR DE LA FEMME AU VISAGE ROUGE

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图片中的放大镜,支持鼠标滚轮缩放区域大小
图片中的放大镜,支持鼠标滚轮缩放区域大小

拍品信息

作者 MARC CHAGALL(1887~1985) 尺寸 34.9×23.8cm
作品分类 西画雕塑>油画 创作年代 暂无
估价 USD  300,000-400,000
成交价 登录后可查看
专场 印象派及现代艺术日拍 拍卖时间 2017-11-15
拍卖公司 纽约蘇富比有限公司 拍卖会 2017年11月拍卖会
说明 Stamped Marc Chagall (lower right)
Oil, tempera and brush and ink on canvasboard
Executed circa 1970-75.

参阅状况报告 重要拍卖通知

The authenticity of this work has kindly been confirmed by the Comité Chagall.

来源
Ida Chagall, Paris (the artist’s daughter; acquired directly from the artist)
Sale: Galerie Kornfeld, Bern, June 15, 2012, lot 23
Acquired at the above sale by the present owner

相关资料
Autour de la femme au visage rouge offers a spectacular amalgamation of some of Chagall’s most recognizable motifs: symbols of his Eastern European heritage, domesticity and a landscape evoking both the villages of his childhood home in Russia and the Mediterranean coastal towns in the South of France. He employs the color blue throughout to create a sense of mysticism, alluding to the spiritual significance that color holds in religious iconography. The combination of these elements results in a whimsical, dream-like composition that becomes an expression of the artist’s internal universe rather than an objective commentary of the modern world.
The journalist Alexander Liberman, who visited Chagall in the late 1950s, eloquently described the complexity and intimacy of Chagall’s paintings:“Like a human being, a Chagall painting reveals its rich complexity only if one has lived with it and in it, in the way the artist has during its creation. One must look at his paintings closely to experience their full power. After the impact of the overall effect, there is the joy of the close-up discovery. In this intimate scrutiny, the slightest variation takes on immense importance. We cannot concentrate for a long time; our senses tire quickly and we need, after moments of intense stimulation, periods of rest. Chagall understands this visual secret better than most painters; he draws our interest into a corner where minute details hold it, and when we tire of that, we rest, floating in a space of color, until the eye lands on a new small island of quivering life” (Alexander Liberman,“The Artist in His Studio,” 1958, reprinted in Jacob Baal-Teshuva, Chagall: A Retrospective, New York, 1995, p. 337).

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