Granatapfel Art
Salvador Dalí, Traum, verursacht durch den Flug einer Biene um einen Granatapfel eine Sekunde vor dem Aufwachen, 1944
Öl auf Leinwand
51 x 41 cm
Madrid, Museo Thyssen-Bornemisza
Zu den Gemälden während des amerikanischen Exils zählt das Werk „Traum, verursacht durch den Flug einer Biene um einen Granatapfel eine Sekunde vor dem Aufwachen“ aus dem Jahr 1944 als eines der letzten herausragenden Arbeiten der ersten Schaffensperiode. Die zweite beginnt nach der Rückkehr des Künstlers nach Spanien 1948. Von da ab inszeniert sich der Ahnherr der Happenings und Auktionskünste nur noch selbst.
Das Geschäftliche steht eindeutig im Vordergrund. Neue Erfindungen bleiben aus; der Künstler verharrt in der Vergangenheit. Der sonst übliche künstlerische Stilbruch bleibt in den nächsten rund vierzig Jahren aus. Am auffälligsten verdeutlichen das die Formate. Galt Dalí vor seinem Exil als Meister des kleinen Formates, nehmen seine Werke nun übergroße Ausmaße an.
http://www.kunstmarkt.de
Öl auf Leinwand
51 x 41 cm
Madrid, Museo Thyssen-Bornemisza
Zu den Gemälden während des amerikanischen Exils zählt das Werk „Traum, verursacht durch den Flug einer Biene um einen Granatapfel eine Sekunde vor dem Aufwachen“ aus dem Jahr 1944 als eines der letzten herausragenden Arbeiten der ersten Schaffensperiode. Die zweite beginnt nach der Rückkehr des Künstlers nach Spanien 1948. Von da ab inszeniert sich der Ahnherr der Happenings und Auktionskünste nur noch selbst.
Das Geschäftliche steht eindeutig im Vordergrund. Neue Erfindungen bleiben aus; der Künstler verharrt in der Vergangenheit. Der sonst übliche künstlerische Stilbruch bleibt in den nächsten rund vierzig Jahren aus. Am auffälligsten verdeutlichen das die Formate. Galt Dalí vor seinem Exil als Meister des kleinen Formates, nehmen seine Werke nun übergroße Ausmaße an.
http://www.kunstmarkt.de
jagger - am Sonntag, 3. Oktober 2004, 22:03 - Rubrik: Granatapfel Art
15,7 x 12,8 cm, Öl auf Holz, 1469-1470, National Gallery of Art, Washington
Man beachte das winzige Format dieses Bildes!
Gustave Dreyfus verkaufte das Bild 1930 nach Duveen, New York, 1951 erwarb es Samuel Kress, der das Gemälde später der National Gallery schenkte.
An diesem Bild aus der Werkstatt Andrea del Verrocchios wirkten möglicherweise Lorenzo di Credi und Leonardo mit.
Lorenzo di Credi
Florentine, c. 1457/1459 - 1536
Born the son of a goldsmith in 1457 or 1459, Lorenzo di Credi was, with Leonardo da Vinci and Perugino, a pupil in the Florentine workshop of Andrea del Verrocchio, where he is first recorded in 1480 as a poorly paid assistant.[1] During the master's absence in 1482-1483, Lorenzo took over the shop, and he became Verrocchio's heir upon Andrea's death in 1488. Though not a very original painter, Lorenzo was technically proficient, with the result that the meticulously detailed, enamel-like surfaces of his pictures are, as a rule, better preserved than are the works of his teacher or his fellow pupils. Lorenzo continued Verrocchio's style well into the sixteenth century, and the commissions he received were, accordingly, conservative in character, and mainly for half-length devotional pictures and altarpieces. Several of his patrons are known to have had ties to the religious reform movement instituted by Savonarola. Lorenzo painted very few secular works, but he was sought after as a portraitist; among his finest works is a series of keenly observant metalpoint drawings of the heads of men, women, and children. As a prominent member of the Florentine artistic community, Lorenzo was appointed in 1504 to the committee charged with deciding the placement of Michelangelo's David, and he remained active as a painter, despite his retardataire style, into the 1520s. He died in 1536. [This is the artist's biography published, or to be published, in the NGA Systematic Catalogue]
Man beachte das winzige Format dieses Bildes!
Gustave Dreyfus verkaufte das Bild 1930 nach Duveen, New York, 1951 erwarb es Samuel Kress, der das Gemälde später der National Gallery schenkte.
An diesem Bild aus der Werkstatt Andrea del Verrocchios wirkten möglicherweise Lorenzo di Credi und Leonardo mit.
Lorenzo di Credi
Florentine, c. 1457/1459 - 1536
Born the son of a goldsmith in 1457 or 1459, Lorenzo di Credi was, with Leonardo da Vinci and Perugino, a pupil in the Florentine workshop of Andrea del Verrocchio, where he is first recorded in 1480 as a poorly paid assistant.[1] During the master's absence in 1482-1483, Lorenzo took over the shop, and he became Verrocchio's heir upon Andrea's death in 1488. Though not a very original painter, Lorenzo was technically proficient, with the result that the meticulously detailed, enamel-like surfaces of his pictures are, as a rule, better preserved than are the works of his teacher or his fellow pupils. Lorenzo continued Verrocchio's style well into the sixteenth century, and the commissions he received were, accordingly, conservative in character, and mainly for half-length devotional pictures and altarpieces. Several of his patrons are known to have had ties to the religious reform movement instituted by Savonarola. Lorenzo painted very few secular works, but he was sought after as a portraitist; among his finest works is a series of keenly observant metalpoint drawings of the heads of men, women, and children. As a prominent member of the Florentine artistic community, Lorenzo was appointed in 1504 to the committee charged with deciding the placement of Michelangelo's David, and he remained active as a painter, despite his retardataire style, into the 1520s. He died in 1536. [This is the artist's biography published, or to be published, in the NGA Systematic Catalogue]
jagger - am Montag, 12. Juli 2004, 00:39 - Rubrik: Granatapfel Art
TITLE: Still Life with Apple and Pomegranate
ARTIST: Joseph Stella
GALLERY: Menconi & Schoelkopf Fine Art, LLC
WORK DATE: 1927
CATEGORY: Paintings
MATERIALS: Oil on canvas
MARKINGS: Signed at lower right: Jos. Stella
SIZE: h: 15 x w: 18 in / h: 38.1 x w: 45.7 cm
SUBJECT: Still Life
PRICE: Contact Gallery for Price
PROVENANCE: Estate of the artist; to
Nephew of artist, Sergio Stella, Long Island, New York; to
[Rabin and Krueger Gallery, Newark, New Jersey]; to
Dr. and Mrs. Norman Linde, Milburn, New Jersey; to
[Robert Schoelkopf Gallery, Ltd., New York, in 1978]; to
Private collection, New York, 1980-present
EXHIBITIONS: Robert Schoelkopf Gallery, Ltd., New York, 1981, Joseph Stella, no. 21
ARTIST: Joseph Stella
GALLERY: Menconi & Schoelkopf Fine Art, LLC
WORK DATE: 1927
CATEGORY: Paintings
MATERIALS: Oil on canvas
MARKINGS: Signed at lower right: Jos. Stella
SIZE: h: 15 x w: 18 in / h: 38.1 x w: 45.7 cm
SUBJECT: Still Life
PRICE: Contact Gallery for Price
PROVENANCE: Estate of the artist; to
Nephew of artist, Sergio Stella, Long Island, New York; to
[Rabin and Krueger Gallery, Newark, New Jersey]; to
Dr. and Mrs. Norman Linde, Milburn, New Jersey; to
[Robert Schoelkopf Gallery, Ltd., New York, in 1978]; to
Private collection, New York, 1980-present
EXHIBITIONS: Robert Schoelkopf Gallery, Ltd., New York, 1981, Joseph Stella, no. 21
jagger - am Sonntag, 11. Juli 2004, 11:57 - Rubrik: Granatapfel Art
TITLE: Pomegranate, Pear and Apple
ARTIST: Marsden Hartley
GALLERY: Kennedy Galleries (212) 541-9600
WORK DATE: 1923
CATEGORY: Prints
MATERIALS: Lithograph on paper
EDITION/SET OF: 25
MARKINGS: Signed in pencil
SIZE: h: 10.2 x w: 14.5 in / h: 25.9 x w: 36.8 cm
SUBJECT: Still Life
PRICE: Contact Gallery for Price
www.artnet.com
ARTIST: Marsden Hartley
GALLERY: Kennedy Galleries (212) 541-9600
WORK DATE: 1923
CATEGORY: Prints
MATERIALS: Lithograph on paper
EDITION/SET OF: 25
MARKINGS: Signed in pencil
SIZE: h: 10.2 x w: 14.5 in / h: 25.9 x w: 36.8 cm
SUBJECT: Still Life
PRICE: Contact Gallery for Price
www.artnet.com
jagger - am Sonntag, 11. Juli 2004, 11:56 - Rubrik: Granatapfel Art
