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This pastel belongs to a small number of works of art at the Frick
by a female artist. Rosalba Carriera (Italian, 1673 1757) spent
most of her life in Venice, then a popular destination for young
aristocrats from all over Europe undertaking the Grand Tour-a tour
of the continent that served as an educational rite of passage into
adulthood. Many of these travelers would go to Rosalba's studio to
have a portrait painted, and Rosalba, who began her career as a
miniaturist painter in Venice, became internationally acclaimed.
Rosalba's pastels are technically innovative, remarkable for their
soft edges and sumptuous effects. By binding colored chalk into
sticks, she obtained a much wider range of prepared colors, which
ultimately expanded the visual possibilities of this medium. Little
is known about this portrait, painted about 1730. Despite the
fragility of the medium-pastel-it is in pristine condition. The
portrayal of the man as a pilgrim, with a black cape and holding a
staff, may indicate that he was a member of the Pellegrini
family-pellegrini being the Italian word for pilgrims-or that he is
someone who traveled on a pilgrimage. More likely, however, his
attire is simply a costume related to the Venetian Carnival.
Designed to foster critical engagement and interest specialist and
non-specialist alike, each book in the Frick Diptych series
illuminates a single work in the Frick's rich collection with an
essay by a Frick curator paired with a contribution from a
contemporary artist or writer. AUTHORS: Born in Lausanne in 1980,
Nicolas Party is a figurative painter who has achieved critical
admiration for his familiar yet unsettling landscapes, portraits,
and still lifes that simultaneously celebrate and challenge
conventions of representational painting. His works are primarily
created in soft pastel, an idiosyncratic choice of medium in the
21st-century, and one that allows for exceptional degrees of
intensity and fluidity in his depictions of objects both natural
and manmade. Xavier F. Salomon is deputy director and Peter Jay
Sharp Chief Curator, The Frick Collection, New York. SELLING
POINTS: . New volume in the best selling Frick Diptych series that
began with Holbein's Sir Thomas More by Hilary Mantel . Volume 13
focuses on an exquisite eighteenth-century Italian portrait 45
colour illustrations
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Niki de Saint Phalle (Hardcover)
Zurcher Kunstgesellschaft, Kunsthaus Zurich, Schirn Kunsthalle Frankfurt; Text written by Christoph Becker, Bice Curiger, …
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R1,055
Discovery Miles 10 550
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Her sensual Nanas-buxom, colorful female figures laid the
foundation for her international success beyond the art world: Niki
de Saint Phalle. But the self-taught artist's creative spectrum is
much broader, and her unconventional oeuvre, ranging from painting
and drawing to assemblages, performances, theatre, film, and
architecture, is more subversive and critical of society than is
widely assumed. Based on her efforts to process her own feelings,
she addressed social and political issues, critically questioning
institutions and role models in ways that are as relevant today as
they have ever been. The exhibition and the publication shed new
light on the artist's exceptional personality and uncover the
wide-ranging oeuvre of the popular outsider-that is always
surprising and eccentric, emotional, dark and brutal, humorous and
cheerful.
The volume Nicolas Party | L'Heure Mauve collects a vast visual
epic in which Party plays a variety of roles, sometimes
impersonating the artist, others the scenographer, the conservator,
or the sculptor. His work, and the title of the show, are inspired
by L'Heure Mauve, a piece created in 1921 by the Canadian painter
Ozlas Leduc that highlights the different interpretations given to
the relationship between man and nature throughout the history of
art. The result is a constantly changing natural environment: it
can be a place full of danger and catastrophe, a territory to be
conquered, an expanse disseminated with ancient ruins, or even
silences where there are no traces of human presence. Nature
finally becomes the theatre for the Anthropocene, its connection
with humanity by now inextricable, and the passing of time and the
finiteness of existence make way for a feeling of melancholy. Our
artist interrogates the world's image, and he does so by dialoguing
very concretely with the spaces and the works belonging to the
collection of the Montreal Museum of Fine Arts. The present volume
reflects this personal evolution by employing a unique graphic
framework and a packaging that is as precious as its contents. Text
in English and French.
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