|Title||La caresse des étoiles|
|Medium||oil on canvas|
|Size||23.7 x 27.3 in. / 60.3 x 69.3 cm.|
|Description||Joan Miro (1893-1983) La caresse des étoiles signed ‘Miró’ (center) oil…|
|Sale Of||Christie’s New York: Tuesday, May 6, 2008 [Lot 33] Impressionist And Modern Art Evening Sale|
|Estimate||12,000,000 – 16,000,000 USD|
|Provenance||Galerie Pierre (Pierre Loeb), Paris (acquired from the artist). Nathan L. Halpern, New York (acquired from the above, circa 1945); estate sale, Christie’s, New York, 3 November 2004, lot 11. Acquired at the above sale by the present owner Artnet.com|
Vaikuntam was born in Boorugupally, Karimnagar, Andhra Pradesh. His father used to run a grocery shop.
He studied at the College of Fine Arts and Architecture at Hyderabad and Painting and Printmaking, Faculty of Fine Arts, Maharaja Sayajirao University of Baroda (On a Lalit Kala Academy Fellowship from Andhra Pradesh). He was under the tutelage of K. G. Subramanian at Baroda.
The love for women in his paintings can be traced back to his childhood fascination by the impersonations of women characters by the male artists of the theatre groups performing in his village.
CareerVaikuntam paints colorful and elaborately dressed Telangana region men and seductive women. His muse is the sensuous and voluptuous women of Telengana with their omnipresent vermilion bindis, draped in colourful sarees that highlight their dusky skin.
The stylisation of a painting are a perfect foil to Indian classical dance as the figures seem to dance, as if following their creator in a statuesque movement, reminiscent of temple friezes. He uses the brightest of reds and yellows. The simple women become larger than life as they fill the small format of his paintings draped in bright Sircilla saris.
“ I like using rich primary colours, which give a sense of character and depth to my paintings. Like reds and saffron and even orange, because these are essentially Indian colours. I don’t like using colours that are mix of two, because they are not natural, they don’t exist in surroundings around us, in our everyday life. – T. Vaikuntam ”
He also worked as art director for the film, Daasi, which received a national award. He also worked on Maa Bhoomi, Matti Manushulu and film was made based on story as Rangula Kala, which displayed the range of his work as young upcoming painter.
In 1906, Marc traveled with his elder brother Paul, a Byzantine expert, to Saloniki, Mount Athos, and various other Greek locations. A few years later in 1910, Marc developed an important friendship with the artist August Macke.
In 1911 Marc founded the Der Blaue Reiter journal, which became the center of an artist circle with Macke, Wassily Kandinsky, and others who decided to split off from the Neue Künstlervereinigung (New artist’s association) movement.
Marc showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. The apex of the German expressionist movement, the exhibit also showed in Berlin, Köln, Hagen, and Frankfurt. In 1912, Marc met Robert Delaunay, whose use of color and futurist method was a major influence on Marc’s work. Fascinated by futurism and cubism, Marc created art increasingly stark and abstract in nature.
After mobilization of the German Army during World War I, the government identified notable artists to be withdrawn from combat to protect them. Marc was on the list, but before orders for reassignment could reach him, he was struck in the head and killed instantly in 1916 by a shell splinter during the Battle of Verdun.
Karel Appel studied at the Rijksakademie van Beeldende Kunsten in Amsterdam during the German Occupation from 1940 to 1943 and met there the young painter Corneille and, some years later, Constant; they became close friends for years. His parents opposed his choice to become an artist, leading him to leave home; this was also necessary because he needed to hide from the German police so that he would not be picked up and sent to Germany to work in the weapon industry. Appel had his first show in Groningen in 1946. In 1949 he participated with the other Cobra artists in the Stedelijk Museum Amsterdam; this generated a huge scandal and many objections in the press and public. He was influenced by Pablo Picasso, Henri Matisse and the French brute-art artist Jean Dubuffet. In 1947 he started sculpting with all kinds of used materials (in the technique of assemblage) and painted them in bright colors: white, red, yellow, blue and black. He joined the Experimentele Groep in Holland together with the young Dutch painters Anton Rooskens, Theo Wolvecamp and Jan Nieuwenhuys. Later the Belgian writer Hugo Claus joined the group.
Kim MacConnel (born in 1946 in Oklahoma City, Oklahoma) is an American artist who works with painting, sculpture, and mixed media-collage/fabric. MacConnel is a seminal figure in the Pattern and Decoration movement of the seventies, but overall MacConnel’s oeuvre has surpassed being categorized. MacConnel received his BA, with honors, from the University of California, San Diego in 1969 and his MFA, also with honors, in 1972.
MacConnel had a lot of trouble starting out as an artist due to the fact that he had to come up against the minimalism of the time in the 1970s. During the Minimalist movement, artists weren’t interested in color or even painting for the most part; MacConnel’s art just wasn’t accepted as serious. It also had partly to do with his material, instead of painting on stretched canvas, MacConnel instead painted on fabric and bed sheets, which he would tear apart and sew back together again. It wasn’t until MacConnel was in an exhibition in Germany that his art became recognized.
It wasn’t really until a German collector who wrote a news letter for German collectors saw the work in a show that I was in Germany and was over come by it. He thought it was really brilliant for some reason. And that’s when a contingent of Europeans really started looking at what we were trying to do. Particularly in my case, what I was trying to do. And found that it resonated in that area for them as a new avenue into the future, really, of what art making might be. So it was revolutionary in some ways in terms of, like, the status quo.
Tobey was the youngest of four children born to George Tobey, a carpenter and house builder, and Emma Cleveland Tobey—his mother was over 40 when Tobey was born. The Tobeys were devout Congregationalists. Tobey’s father carved animals of red stone and sometimes drew animals for the young Tobey to cut out with scissors. In 1893, his family settled in Chicago. As a youth, Tobey studied art for a brief period at the Art Institute of Chicago from 1906 to 1908, but like the others of the Northwest School, Tobey was mostly self-taught.
In 1911, he moved to New York where he worked as a fashion illustrator for McCall’s magazine and made some money as a portraitist. His first one-man show was held at Knoedler & Company, in lower Manhattan, New York City, in 1917.
In 1918, Tobey came in contact with New York portrait artist and Bahá’í Juliet Thompson (also an associate of Khalil Gibran) and posed for her. During the session Tobey read some Bahá’í literature and accepted an invitation to Green Acre where he converted. In the following years, Tobey delved into works of Arabian literature and teachings of East Asian philosophy and with his conversion led him to explore the representation of the spiritual in art.
Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.
Pollock died at the age of 44 in an alcohol-related car accident. In December 1956, the year of his death, he was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City, and a larger more comprehensive exhibition there in 1967. More recently, in 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.