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Owen Nelson
Owen Nelson

Fantastic Forgeries: Paint Like Van Gogh: A Ste...



Otto Wacker,whose career as an art forger is reviewed elsewhere on these pages,put thirty-three false Van Goghs on the market. When they wereexhibited alongside the originals in a Berlin show in 1928, suspicionwas aroused and Wacker was tried and convicted. Here and thereVan Gogh puts thick accents of paint on top of a broader modeling,like ridges on mountains. The forger imitates the ridges only;that they lie directly on the plane of the canvas is revealedby the X-ray photograph. It also shows up the abrupt stroke dueto the quick-drying medium used by the forger instead of oil paint.




Fantastic Forgeries: Paint Like Van Gogh: A Ste...



One of the many portraits of Marie-Thérèse Walter painted by Pablo Picasso in his "magic year" of 1932. The composition and pose of the sitter inevitably recall "Le Rêve", one of his most famous works painted that same year, although Marie-Thérèse's face -like the overall tone of the painting- is more sombre than in that one.


Note: the estimated price is for each of the paintings.Oil and magma on canvas, all 121.9 121.9 cm except "Sound of Music" (121.9 142.2 cm)Private collections Succession Roy Lichtenstein / ARS New YorkBetween 1964 and 1965, Roy Lichtenstein created a series of paintings in which the figure of a young, stereotypically blonde, blue-eyed girl is at its most prominent. Whereas in earlier works such as "Masterpiece" or "In the Car", these women appeared accompanied, or as part of a more complex composition, in these works they are the sole and absolute protagonists, with their faces occupying almost the entire canvas. Among them is a group of works executed by Lichtenstein in the 48 x 48-inch format. Analysis of these paintings has led to sometimes contradictory conclusions, for while these women have often been described as "heroines" (for example Christie's in its catalogue for "Nurse"), Diane Waldman sees them as women-objects, as opposed to the "macho American heroes" represented in Lichtenstein's "war paintings", opening the door to the idea that the artist was, in a certain sense, making a social denunciation of the sexism that existed in post-war America. Perhaps it is better to accept that Lichtenstein, a skilful publicist, simply knew how to take advantage of the new "Pop" iconography that emerged after the end of the Second World War like nobody else (or at least like nobody else not called Andy Warhol), with no other aim than to forge a profitable career as an artist. In the world of Pop Art, the most superficial analyses can sometimes prove to be the most accurate.


Note: the estimate is for each of the paintings.Oil on canvas, 65 x 81 cm.Private collection, USA / Private collection, QatarThe series of paintings depicting the Sainte-Victoire mountain is considered to be Cézanne's greatest artistic achievement (along with "The Card Players" and "Bathers") and the clearest influence on the Cubism of Picasso and Braque. In addition, in the second work Cézanne depicts the mountain from the Château Noir, another of the places he liked to paint during the last years of his life.


About the estimate: the relationship between this painting and the art market is complicated. Part of a private French collection, it was offered at auction in 1992, with an estimated price of up to $40 million (extraordinarily high for a period of recession like the early 1990s), but it was sold for only $11 million1 due to two relevant factors: on the one hand, the painting had been declared a national treasure in France, which complicated its export. On the other hand, the painting's bold style led some critics to consider it a forgery. This last factor also caused it to fail to find a buyer in 19962. Today, its authorship is confirmed, and with regard to its status as a national treasure it should be noted that several relevant paintings, such as Rembrandt's "The Standard Bearer" in 2021 or the portraits of Marten Soolmans and Oopjen Coppit - also by Rembrandt - in 2015, have left France after being acquired by foreign buyers.


Although the African inspiration is evident, this painting is a complex work, in which -unlike the work of the same year in the Goulandris collection (see separate entry)- traces of the Rose Period style are still visible.


Oil on canvas, 154.8 x 66.1 cmNahmad CollectionThe work belongs to Picasso's Rose Period, although stylistically it has echoes of the more melancholic and pessimistic Blue Period. In fact, far from the harlequins and acrobats present in other Picasso paintings of the same year, it is very likely that the young woman portrayed in this work, whose identity is unknown, was an underage prostitute.


This painting, like what is arguably Andy Warhol's most famous work (the Tate's "Marilyn Diptych"), studies the theme of repetition on the most iconic of the images created (or "appropriated") by the painter (the Marilyn Monroe on an orange background)


Polymer and graphite on canvas, 209.6 x 266.7cm.image: Artists Rights Society (ARS), NYPrivate collection"210 Coca-Cola Bottles" is the largest of all the paintings Andy Warhol dedicated to the iconic soda bottle. For Warhol, the Coca-Cola bottle was -like his even more famous Campbell's soup cans- a perfect icon for his repetitions: "all the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it".


Celebrating the father of the Utrecht School, this record delves into the life of the extraordinary Dutch painter Abraham Bloemaert. A concise biography illustrates how he formed and experienced at least three important styles of art in his time: mannerism, Caravaggism and classicism, producing works in nearly all possible genres. A presentation of this obscure artist's accomplishments in a fantastic exhibition, this work demonstrates why Bloemaert had such a wide influence on painting in the northern Netherlands of the 17th century. Exploring his role as a teacher in addition to his exceptional talent for drawing, this book also examines the Utrecht specialty of painting cycles as well as specific pieces by Bloemaert, such as his altarpieces, religious and mythological works, genre scenes, landscapes and still lifes.


From domestic cheese to the wines of Europe to exotic commodities like pepper, porcelain and even slaves imported by the Dutch East and West India Companies, the fruits of global commerce glowed in paintings of the time. Yet an uncomfortable tension exists between these elegant representations of products of trade and the darker aspects of their commodity histories. With penetrating insights, Hochstrasser offers a new and provocative view of Dutch still life paintings.


Van de Wetering's approach to Rembrandt's painting eschews traditional stylistic analysis and iconographic explication in favor of examining the artist's materials and methods of painting. This technical approach is neatly conjoined with an appreciation of the artistic theory that affected the master's manner. The careful exfoliating of data derived from the laboratory about panels, canvases, underpainting, colors, binders, varnishes and so forth, along with a subtle exploitation of documentary sources, suggests a useful and fresh approaches to Rembrandtian problems. While a radical new understanding of the master's art does not emerge from this study, the Rembrandt student will be disabused of conventional notions about his painting methods, pictorial construction, use of drawing, and likely original appearance.


This beautiful catalog presents a comprehensive treatment of the achievements of the Utrecht school of painters. Unlike their more well known compatriots, Rembrandt and Vermeer, who perfected naturalistic portraits of seventeenth-century Dutch cultural life, the Utrecht masters (including Abraham Bloemart and Cornelis van Poelenburch) infused their canvases with a blend of mythological imagination, baroque religiosity, and a Dutch sense of nature. Van Poelenburch's Landscape with the Flight into Egypt, which sets the biblical flight of Joseph and Mary against a vast seventeenth-century Utrecht landscape, is one of many examples of this distinctive artistic approach. The catalog also features eight scholarly essays on the sociopolitical milieu that gave rise to the Utrecht school. As a predominantly Catholic province, Utrecht proved both receptive to the Caravaggesque sensibilities of these artists and more generous in its patronage of their works than other parts of Protestant mercantile Holland. The writing is at times uneven, but overall this is a solid academic study that promises to broaden our understanding of Dutch art.


This scholarly work examines seventeenth-century Dutch flower painting within the contexts of symbolism, political and economic events, religion, art criticism, and the art market. Detailed discussions use seventeenth-century sources to explore the significance of these paintings to their cultural contemporaries. Attractive reproductions, most of them in color, serve to illustrate the points that are made in the text. Interested lay readers are likely to enjoy the reproductions and discussions of individual painters. Because much of the book concentrates on fairly narrow interpretive issues, however, it will be of primary interest to scholars and students of the period.


Lawren found refuge in another, more potent and more personal religion. While every little kid makes art, little Lawren literally consumed it: when he received his first set of watercolour paints as a toddler, he ate the coloured cubes like candy. A sickly child often confined to bed with a mysterious heart defect, Lawren spent his time sketching his toys or making Christmas cards. He wanted to play hockey and swim in the river, but Annie nudged him toward knitting and stamp collecting instead. 041b061a72


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