图片文件尺寸 : 4081 x 4322px

Salvador Dalí:La Divine Comédie, from Dante Alighieri, L\'Enfer; La Purgatoire; Le Paradis (Field pp. 189-200, Michler/Löpsinger 1039-1138), 1959-63
The complete portfolio, comprising 100 wood engravings in colors on Rives BFK paper, each signed in colored crayon (Inferno in red, Purgatory in purple, and Paradise in blue) and numbered 105/150 (aside from the total edition of 4765), lacking title, lacking text in French, lacking justification, published by Editions d\'Art les Heures Claires, Paris, with full margins, each loose (as issued), contained in three clamshell boxes and slipcases.
each sheet 13 x 10 3/8in (33 x 26.4cm)

萨尔瓦多·达利 神曲，但丁·阿利吉耶里著，地狱炼狱天堂

图片文件尺寸 : 4616 x 4213px

Salvador Dalí:Two Plates from Purgatory, Canto 21, from The Divine Comedy, wood engraving and corresponding etching on silk (2 works) (See Field pp. 189-193), 1951
Wood engraving in colors on Rives paper with the etching printed in red ink on silk, the engraving signed and dated in ballpoint pen, \'Salvador Dali 1963\', from the French edition published in 1959-1963 by Jean Estrade, Les Heures Claires, Paris in a total edition of 4765, the etching on silk with the artist\'s printed signature, both with full margins. (2 works)
9 7/8 x 7in (25 x 18.4cm); silk image 10 1/8 x 7 7/8in
sheet 13 x 10 3/8in (33 x 26.3cm) silk 12 x 10in (30.4 x 25.4cm)

萨尔瓦多·达利 炼狱中的两个盘子，第21节，《神曲》，木刻和相应的丝绸蚀刻

图片文件尺寸 : 4782 x 5378px

Salvador Dalí:Two plates, from Hell, Canto 4, from The Divine Comedy, wood engraving and corresponding etching on silk (2 works) (See Field pp. 189-193 ), 1951
Wood engraving in colors on Rives paper with the etching printed in red ink on silk, the engraving signed and dated in ballpoint pen, \'Salvador Dali 1963\', from the French edition published in 1959-1963 by Jean Estrade, Les Heures Claires, Paris in a total edition of 4765, the etching on silk with the artist\'s printed signature, from the deluxe edition of 33, published by Joseph Foret, the engraving with full margins. (2 works)
9 7/8 x 7in (25 x 18.4cm); silk image 9 1/4 x 6 3/4in (23.5 x17.1cm)
sheet 13 x 10 3/8in (33 x 26.3cm) silk 12 x 10in (30.4 x 25.4cm)

萨尔瓦多·达利 两个盘子，来自《地狱》，第四章，来自《神曲》，木刻和相应的丝绸蚀刻

图片文件尺寸 : 4890 x 4508px

Salvador Dalí:Two plates from Purgatory, Canto 24, from The Divine Comedy, wood engraving and corresponding etching on silk (2 works) (Field pp. 189-193), 1951
Wood engraving in colors on Rives paper and an etching printed in red ink on silk, the engraving signed and dated in ballpoint pen, \'Salvador Dali 1963\', from the French edition published in 1959-1963 by Jean Estrade, Les Heures Claires, Paris in a total edition of 4765, the etching on silk with the artist\'s printed signature, from the deluxe edition of 33, published by Joseph Foret, the engraving with full margins. (2 works)
9 7/8 x 7in (25 x 18.4cm); silk image 10 1/8 x 7 7/8in (25.7 x 19.9cm)
sheet 13 x 10 3/8in (33 x 26.3cm) silk 12 x 10in (30.4 x 25.4cm)

萨尔瓦多·达利 《炼狱》第24章《神曲》中的两个盘子，木刻和相应的丝绸蚀刻

图片文件像素：4755 x 3973 px

Wifredo Lam。-

Wifredo Lam * - Moderne-

(Kuba 1902–1982 Paris)
Ohne Titel, 1973, signiert, rückseitig signiert, Öl auf Leinwand, 25,3 x 34,3 cm, gerahmt

Das Werk ist im Wifredo-Lam-Archiv unter der Nr 73.32 registriert.

Provenienz:
Galerie Daniel Lelong, Paris
Galleria d’Arte Maggiore, Bologna
Europäische Privatsammlung
Dort vom heutigen Besitzer erworben

Literatur:
L. L. Lam, E. Lam, Wifredo Lam. Catalogue Raisonné of the Painted Work, Bd. II 1961–1982, Acatos 2002, S. 397, Nr. 73.32 mit Abb.

Ab den 1950er Jahren führte Lam ein zunehmend kosmopolitisches Leben: Paris, New York, Caracas, Zürich und Albissola in Italien gehörten zu den Orten, an denen er lebte. (....) Sein Kosmopolitismus, der ab den 1940er Jahren von internationalen Einzelausstellungen in der Karibik, Lateinamerika, den USA und Europa begleitet wurde, machte Kuba fast zu einem Nebenschauplatz seiner Biografie. Doch Lam verlor nie den Kontakt zu seiner Insel, schon gar nicht nach der kubanischen Revolution von 1959, die für viele Künstler und Intellektuelle die Hoffnung auf ein neues Kräfteverhältnis nährte, das schließlich zu mehr Gleichheit und sozialer Gerechtigkeit nicht nur in Kuba, sondern auf dem gesamten lateinamerikanischen Kontinent führen würde. Aufgrund dieser Hoffnungen blieb Lam der kubanischen Revolution sein Leben lang treu. (...)

Lams kollaborative Projekte ab den 1960er Jahren zeigen auch sein fortwährendes Engagement für die transkulturellen Erinnerungen an das, was er einmal das „Drama seines Landes“ nannte: den transatlantischen Sklavenhandel. Lam wendet sich jedoch der Hybridität als Mittel des Widerstands zu. Die Transversalität seiner synkretistischen Kunst kann somit als Rebellion gegen eine Weltanschauung verstanden werden, mit der die europäischen Kolonialmächte den nicht-westlichen Kulturen eine monolithische christliche Weltsicht aufzwangen. Die Methode des Surrealismus, die Macht des Unbewussten und der Träume zu befreien, untermauert Lams globale Botschaft an die unterdrückten Völker, die Freiheit ihres Geistes zurückzuerobern und alle Akteure der (post-)kolonialen Ausbeutung so weit wie möglich zu stören.

Bildcredit:
Wifredo Lam, ca. 1948, © Michel Sima / Bridgeman Images, Bildrecht, Wien, 2022

芬兰艺术家作品集

图片文件像素：5457 x 4998 px

草间弥生，当代艺术I-

Yayoi Kusama - Zeitgenössische Kunst I-

(born in Matsumoto, Japan 1929)
Pumpkin KKK, 2002, signed, dated and titled on the reverse, acrylic on canvas, 22.7 x 15.8 cm, in plexiglass box

This work is accompanied by a registration card issued by Yayoi Kusama Studio

We are grateful to Yayoi Kusama Inc. for confirming the registration of the work in its database

Provenance:
European Private Collection

Iconic Pumpkin

Yayoi Kusama is possibly the best known Japanese artist in the world. Her famous polka dots have become her trademark and Kusama\'s stylized pumpkins are among the most iconic masterpieces of contemporary art.

Born in the late 1920s, Yayoi Kusama grew up in the conservative confines of the small town of Matsumoto in Nagano Prefecture in Japan. She attended the Kyoto School of Arts and Crafts, and after staging her first exhibitions, through which she was ‘discovered’ by the international art world, Kusama was able to emigrate to America, where she lived and worked, primarily in New York, from 1957 to 1973. Kusama celebrated her first major success in New York in 1959 with a solo exhibition at the Brata Gallery, entitled Obsessional Monochrome. The Infinity Net Paintings exhibited there were compositions of dense networks executed with white brushstrokes on a black ground and characterised by the theme of repetition.

Grids, flashes of light and, above all, dots that repeat endlessly are the most striking characteristic of Kusama\'s works and established her fame as the ‘Polka Dot Princess’. For the artist, the dots that overgrow everything are not merely a harmless pattern. They have their origins in the hallucinations and panic attacks she has experienced since her youth, which determined her perception of the world. Growing up, she saw dot and net patterns and feared she would dissolve into them. The polka dots and their constant repetition now became an expression of the search for infinity and the desire for self-dissolution. The dots erase the image into which the artist channels her fears. With her polka dots, Kusama covers not only canvases, but also everyday objects such as tea kettles or bookshelves, clothes, giant tentacles, oversized flowers, entire rooms or herself. And pumpkins as well.

\"Pumpkin KKK\" (2002) represents another important theme in Yayoi Kusama\'s work. For Kusama, the pumpkin is associated with memories of childhood and has been a favourite motif with almost mythical status since the 1970s-1980s. The artist first saw pumpkins during walks with her grandfather, and they had a calming effect on the hallucination-stricken artist. \"I love pumpkins for their humorous shape, their warmth and their human quality,\" Kusama says. She devoted herself to pumpkins in paintings and sculptures and incorporated them into her Infinity Rooms. Bold colours characterise the pumpkins, as do the precisely placed polka dots. The colour scheme follows an inner symbolism, according to which the artist categorises unprocessed experiences. The pumpkins stand for triumph over inner struggles, their endless repetition allows the artist to find her mental balance.

Since her return to Japan, Kusama, who has never made a secret of her illness, has voluntarily lived in a psychiatric institution. In 2017, a museum dedicated solely to her opened in Tokyo and numerous international exhibitions testify to considerable on-going interest in her work. With her unconventional works, her extraordinary performances, self-dramatisations and happenings, Kusama has anticipated many trends in contemporary art.